CAA News Today

CAA has announced the recipients of the 2013 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 honorees at a special awards ceremony during Convocation at the 101st Annual Conference in New York, on Wednesday evening, February 13, 2013, 5:30–7:00 PM, at the Hilton New York. Led by Anne Collins Goodyear, president of the CAA Board of Directors, the awards ceremony will take place in East Ballroom, Third Floor. Convocation and the awards ceremony are free and open to the public. The Hilton New York is located in midtown Manhattan, at 1335 Avenue of the Americas (Sixth Avenue), New York, NY 10010.

The 2013 Annual Conference—presenting scholarly sessions, panel discussions, career-development workshops, art exhibitions, a Book and Trade Fair, and more—is the largest gathering of artists, art historians, students, and arts professionals in the United States.

Ellsworth Kelly, Distinguished Artist Award for Lifetime Achievement

For over seventy years, Ellsworth Kelly has forged an independent and influential career as a draftsman, painter, sculptor, photographer, and printmaker. Born in 1923, Kelly entered the United States Army after early studies at Pratt Institute. After serving in the 603rd Engineers Camouflage Battalion from 1943 to 1945, he entered the School of the Museum of Fine Arts in Boston in 1946. It was during his time in Paris, from 1948 to 1954, that Kelly experimented with chance compositions, surreal forms, and bold colors and in doing so built the foundation for his lifelong investigation of abstraction in art. In 1956, Betty Parsons Gallery hosted the first solo exhibition of his work in New York, and inclusion in key exhibitions followed: Sixteen Americans at the Museum of Modern Art (1959), Primary Structures at the Jewish Museum (1966), and Serial Imagery at the Pasadena Art Museum (1968). The Museum of Modern Art in New York staged his first retrospective in 1973, with additional surveys taking place at the Stedelijk Museum (1979), the Galerie Nationale du Jeu de Paume (1992), the Solomon R. Guggenheim Museum (1996), Haus der Kunst, Munich (2011), and the Metropolitan Museum of Art (2012). For the artist and jury member Roy Dowell, Kelly’s “deceptively simple paintings and drawings have been a symbol of that elusive and inexplicable quality of rightness and accuracy of vision that I value in art. The sustained intelligence and rigor of his practice is most admirable as he offers to his audience an example of unwavering conviction and elegance.”

Elaine Sturtevant, Artist Award for Distinguished Body of Work

For over four decades, the American-born, Parisian-based artist Elaine Sturtevant has been creating blindingly original works. Because her work calls into question our deep ties with authorship as the defining quality of any artwork, it has perplexed both the art world and the general public, as demonstrated by her recent solo exhibition, Rock & Rap /c Simulacra at Gavin Brown’s Enterprise in New York (May 4–June 23, 2012), her first in the United States in seven years. From the 1960s to the 1990s, Sturtevant based her appropriation-based work only on cultural iconography that was tied to specific artists, be that Andy Warhol or Joseph Beuys. In 2004, she started looking at commercial television imagery as a readymade and found—in its brain-numbing repetition—a recognizable source that was less revered than her art-historical precedents but upon which she could perform the same revelatory operation. While Sturtevant’s multiscreen installations are now widely exhibited and celebrated, their existence has helped clarify the type of critical discourse she had hoped to instigate in 1965, when she first showed her paintings.

T. J. Clark, Distinguished Lifetime Achievement Award for Writing on Art

CAA recognizes T. J. Clark, professor emeritus of the History of Art Department at the University of California, Berkeley, as an influential, prolific, and inspired art historian and cultural critic. For over forty years he has written scholarly books, journal articles, exhibition reviews, and essays on the history of European and American art from the Renaissance to the present. Since the early 1970s, with the publication of two seminal books on French nineteenth-century realism—The Absolute Bourgeois and The Image of the People—his voice has been consistently recognized for its articulate, committed advocacy of the social and political significance of art. An enormously influential essay from that time called for “a new art history,” one founded on the responsibility of the historian or critic for situating aesthetic objects and approaches within the larger frame of cultural critique. From these early books and articles, with their Marxist and theoretical orientation, through subsequent studies of Impressionism and Édouard Manet (1980s), Abstract Expressionism (1990s), and Nicolas Poussin and Pablo Picasso (2000s), Clark has engaged the foundations and outcomes of the phenomenon of modernity in art. Over many years of writing on art, culture, and politics for the London Review of Books and the New Left Review, as well as his contributions to the collective Retort, he has provided us with a large body of work that addresses the significance of the expanded field of the visual arts in the world today.

Hal Foster and Claire Bishop, Frank Jewett Mather Award

For over thirty years Hal Foster has been an extraordinarily prolific and influential critic and theorist of modern and contemporary art whose writing is theoretically sophisticated yet lucidly readable. In The First Pop Age: Painting and Subjectivity in the Art of Hamilton, Lichtenstein, Warhol, Richter, and Ruscha (Princeton, NJ: Princeton University Press, 2012), he demonstrates how these artists instantiated their generation’s ambivalent, distressed, but not despairing relationship to the image world they inhabited and remade. A second book, The Art-Architectural Complex (London: Verso, 2011), takes off from Pop’s image skepticism and adds to it concepts from Minimalism, site- and medium-specific art, and the political economy in an aesthetically and ideologically grounded critique of the “banal cosmopolitanism” of much contemporary, global, corporate, and institutional architecture.

In Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso, 2012), the art critic, art historian, and curator Claire Bishop has articulated an important historical overview of the global emergence of participatory art, also called social practice, as a series of aesthetic, ethical, and political projects that have dynamically engaged audiences in order to promote emancipatory social relations. Sheaddresses key examples and their interaction with audiences since the early twentieth century, thus richly grounding her study in art history and aesthetic theory. Her controversial and thought-provoking conclusions courageously trouble our assumptions about the effectiveness of political artworks, questioning their oppositional quality, their effects on the audiences they reach, and their relation to the institutions that promote them. Artificial Hells is noteworthy for its inclusive character, considering artists and collectives active in Eastern and Western Europe, Latin America, and the United States.

Harmony Hammond and Martha Rosler, Distinguished Feminist Award

CAA recognizes Harmony Hammond for her outstanding contributions to feminist and queer culture through art, writing, curating, teaching, and activism. Since the 1960s, she has created muscular, tactile paintings and sculptures that have redefined abstraction in contemporary art. Once at the forefront of the feminist reclamation of craft-based processes throughout the 1970s, Hammond has continued to innovate brilliantly with materials. Her most recent monochromes persistently grapple with the physical properties of paint and are intricately related to a feminist and queer politics of spectatorship. A founding member of A.I.R. Gallery and the Heresies Collective, Hammond has organized many exhibitions featuring women artists throughout her career. She has also been the leading light for promoting, documenting, and historicizing lesbian artists in the United States. Based in New Mexico, Hammond remains an active art critic and advocate for local art production and is a brilliant, generous teacher who energetically mentors students in their study of art making, art history, and aikido, a Japanese martial art.

For over forty years, Martha Rosler’s pioneering work as an artist, activist, and educator has consistently put her at the leading edge of contemporary art. Since her groundbreaking Body Beautiful and Bringing the War Home collages of the late 1960s, she has been acknowledged as an incisive analyst of the myths and realities of contemporary culture and is recognized among the most influential artists of her generation. Rosler’s prolific, boundary-shattering practice—including work in video, photo-text, performance, and installation—has taken on questions of public space, systems of transportation, issues of war, surveillance, and information, and women’s voices and experience regarding all of the above. She has also covered these subjects with her students at Rutgers University, where she taught for thirty years, in the Whitney Museum Independent Study Program, and most recently at the dozens of international lectures and workshops that have increasingly intersected with her often-collaborative studio practice. Rosler’s critical writing is also recognized for the same, lucid perspectives on the ongoing, ever-evolving connections among consumerism, technology, politics, sexism, class divisions, and violence that are reflected in her artwork.

Buzz Spector, Distinguished Teaching of Art Award

Buzz Spector has influenced students at the important institutions where he has worked since 1978, including Washington University in Saint Louis, Cornell University, and the University of Illinois, Urbana-Champaign. His guidance goes beyond those he has directly taught, as his writings, artworks, installations, and conceptual theories have challenged artists everywhere. Spector has examined our body of knowledge, its means of dissemination through the trusted authority of the published book, and the ephemeral act of reading. His students and colleagues spoke of his engagement as a teacher, how he conveys a flow of energy, information, and concepts to them, describing him as “profound,” “inspiring,” and “a strong advocate” who is “personally committed to his students.” His personal style is “extremely astute, honest, and humorous in his approach” with “insightful, encouraging critique.” Spector can “begin a discussion with an essential question and then spend the hours it takes to tease out literary and scientific references, contemporary art themes, and personal poignancies.” Most of all, he “imparts knowledge as a way to expand how one thinks about one’s own possibility and potential.”

June Hargrove, Distinguished Teaching of Art History Award

June Hargrove, a professor of nineteenth-century art in the Department of Art and Archaeology at the University of Maryland in College Park, has maintained her enthusiasm for teaching and scholarship through her keen ability to nurture and educate generations of students. While maintaining high standards for her students, Hargrove gives freely of her own time beyond the classroom so that students discover in her a compassionate and thoughtful mentor. Striking a careful balance, Hargrove has found the time to create new courses that embrace the interests of students while widening the breadth of her own knowledge. She has been able to distill large, complex ideas in survey courses, expanding further on issues of race, sexuality, or gender, going beyond what textbooks might cover. Hargrove has also helped connect younger scholars to established art historians and museum curators beyond their own immediate environment. From all of these achievements, she has revealed a fundamental passion for teaching, for making ideas come alive, to generations of undergraduate students first at Cleveland State University and then for decades at the University of Maryland.

Mary K. Coffey, Charles Rufus Morey Book Award

In How a Revolutionary Art Became Official Culture: Murals, Museums, and the Mexican State (Durham, NC: Duke University Press, 2012), Mary K. Coffey contends that the work of Mexican muralists in the early twentieth century was co-opted by governmental and cultural institutions to serve an ideology often directly at odds with the artists’ original aims. Furthermore, she expands traditional narratives that cast the works of Diego Rivera, José Clemente Orozco, and others as uncomplicated monuments to social equality and lays bare the ways in which the Mexican muralists often reinscribed restrictive gender norms and promoted myths about mestizo identity. Beautifully illustrated and designed, How a Revolutionary Art Became Official Culture offers not only exciting revelations about Mexican modernism but also presents a highly original way to consider the connections between the avant-garde and the state. Coffey’s meticulously researched and vigorously argued account offers a paradigm of art-historical scholarship at its finest.

Philipp Kaiser and Miwon Kwon, Alfred H. Barr Jr. Award

The exhibition catalogue for Ends of the Earth: Land Art to 1974 (Los Angeles: Museum of Contemporary Art, 2012) presents a stimulating, long-overdue scholarly assessment of this international phenomenon. Wresting the history of Land art from its ossified foundations and courageously bringing an unruly topic into clear focus, the curator Philipp Kaiser and the scholar Miwon Kwon join forces to produce this appropriately expansive, decidedly revelatory, and eminently readable publication. Through scholarly essays, interviews, a checklist, and photodocumentation, Ends of the Earth remaps the geography of the movement, proposing that sites international and urban were as critical to Earthworks as the desert landscapes of the American Southwest, leaving as a trace of its labors a sturdy, earthy catalogue that serves as a further “non-site” for the resolutely uncontainable projects that redefined aesthetic practice in the 1960s and 1970s and that resonate anew in our ecologically challenged times.

Joanne Pillsbury, Miriam Doutriaux, Reiko Ishihara-Brito, and Alexandre Tokovinine, Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions

Edited by Joanne Pillsbury, Miriam Doutriaux, Reiko Ishihara-Brito, and Alexandre Tokovinine, Ancient Maya Art at Dumbarton Oaks (Washington, DC: Dumbarton Oaks Research Library and Collection, 2012) represents a substantial and long-lasting scholarly and publishing achievement. It is also a highly readable reference work, offering insight into the traditions of sculpture, ceramics, jade, and painting of the Maya cultures of ancient America. The volume, one in a series documenting Precolumbian art at Dumbarton Oaks, meticulously catalogues nearly one hundred works and features scholarly essays addressing the formation of the collection by Robert Woods Bliss and providing background to Maya civilization and the role of ritual objects in its politics, religion, and society. With contributions by nineteen specialists, Ancient Maya Art at Dumbarton Oaks is a model of scholarly collaboration in which different voices echo the variety of objects and ensure the most recent knowledge, particularly regarding advances in epigraphy and subsequent reinterpretations. That the roster of scholars includes not only American curators, professors, and archeologists, but also experts from Guatemala and Mexico, reflects a new level of international cooperation in this sometimes-contentious territory.

Yukio Lippit, Arthur Kingsley Porter Prize

Yukio Lippit’s essay “Of Modes and Manners in Japanese Ink Painting: Sesshū’s Splashed Ink Landscape of 1495,” published in the March 2012 issue of The Art Bulletin, is a new look at a master work of medieval Japanese ink painting that has commonly been studied biographically and interpreted as a pictorialization of Zen Buddhism. Lippit’s evenhanded approach builds upon earlier interpretations but makes artistic intentions only one facet of his considerations. He elucidates the scroll in its entirety, focusing on the work’s splashed ink landscape and prose preface, painted and written by Sesshū Tōyō himself, as well as the poetic inscriptions added to the work by six leading Zen monks after the artist gifted the scroll to his student, Josui Soen. Lippit broadens his engagement by looking at it through the lens of a semiotician and a social and cultural historian. Elegantly constructing his argument, the author writes in clear and compelling terms, making his case for the specialist and nonspecialist alike.

Lance Mayer and Gay Myers, CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation

Lance Mayer and Gay Myers have carved a unique position within the field of art-historical preservation. Their fine book American Painters on Technique: The Colonial Period to 1860 (Los Angeles: J. Paul Getty Museum, 2011) brings together two lifetimes’ worth of research, insight, and dedication, forming a testament to their authority in an engaging text that will have a profound impact on the way historians think, and on the way conservators make treatment decisions. Since the late 1970s, Mayer and Myers have worked as consultant conservators to the Lyman Allyn Art Museum in Connecticut and as independent advisers to numerous collectors and leading institutions. They have studied and treated many of the finest American paintings, such as Emanuel Leutze’s Washington Crossing the Delaware (1851), Samuel F. B. Morse’s Gallery of the Louvre (1831–33), and Rembrandt Peale’s George Washington (Patriae Pater) (1824). Mayer and Myers have also mentored budding conservators, and their résumés detail a stream of excellent publications and presentations ranging from scholarly articles to university courses, public lectures, and treatments.

Art Journal Award

The recipient of the 2013 Art Journal Award is Julia Bryan-Wilson for “Invisible Products,” published in the Summer 2012 issue.

Morey and Barr Award Finalists

CAA recognizes the 2013 finalists for the Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Award for their distinctive achievements:

The Morey award finalists for 2013 are:

The finalist for the 2013 Barr award is:

The finalist for the 2013 Barr Award for Smaller Museums, Libraries, Collections, and Exhibitions is:

Contact

For more information on the 2013 Awards for Distinction, please contact Emmanuel Lemakis, CAA director of programs. Visit the Awards section of the CAA website to read about past recipients.

Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.

The MLA’s Big (Digital) Tent

In recent years, big conversations at and about the annual meeting of the Modern Language Association have been driven by two major and ongoing forces of change: the increasingly bleak economic realities of the profession (and particularly the shift of jobs away from the tenure track) and the ways that new technologies are transforming scholarly work in the humanities—and scholarly communications in general. (Read more at Inside Higher Ed.)

What If the Adjuncts Shrugged

Michael Bérubé’s address at this year’s Modern Language Association convention was one of a handful of times that I felt some real solidarity in the profession against the exploitation of the majority of our students and colleagues. (Read more at the Chronicle of Higher Education.)

Arts Organizations and Digital Technologies

The Pew Research Center designed a survey to understand how arts organizations are using the internet, social media, and other digital technologies to connect with the public. Most participating organizations strongly or somewhat agree with the statements that technology and social media have made art a more participatory experience, and that they have helped make art audiences more diverse. Yet the majority of respondents also say that technology contributes to an expectation that “all digital content should be free.” (Read more at the Pew Internet and American Life Project.)

Creative Aging: The Emergence of Artistic Talents

I always wished I had true musical or artistic talent. There being none, I became a physician. Five years ago, I starting taking guitar lessons and hoped that I would be amazed by some “hidden” talent that would reveal itself to me and the rest of the world. Although I continue to practice every day and enjoy my musical adventure, the talent part remains elusive, if not totally hidden. But this is not the case for everyone. There are people who start to paint or play a musical instrument later in life and become very accomplished—often only when their brain begins to deteriorate. (Read more at the Atlantic.)

Students Rush to Web Classes, but Profits May Be Much Later

In August, four months after Daphne Koller and Andrew Ng started the online education company Coursera, its free college courses had drawn in a million users, a faster launching than either Facebook or Twitter. The cofounders, computer-science professors at Stanford University, watched with amazement as enrollment passed two million last month, with 70,000 new students a week signing up for over 200 courses taught by faculty members at the company’s partners, 33 elite universities. (Read more at the New York Times.)

What Is the Role of Art in the Wake of Tragedy?

The Economist gave the United States a whole weekend to mourn the victims of the Sandy Hook Elementary massacre before telling the entire nation to suck it up. “Those of us who view the events remotely … unless we start to evince a newfound appetite for gun-control measures to prevent future mass slayings, are doing little more than displaying and enjoying our own exalted strickenness,” writes one M. S. “This is an activity at which we, as a culture, excel.” (Read more at Washington City Paper.)

Authenticating Picasso

Pablo Picasso could be capricious when it came to authenticating his own work. On one occasion, he refused to sign a canvas he knew he had painted, saying, “I can paint false Picassos just as well as anybody.” On another, he refused to sign an authentic painting, explaining to the woman who had brought it to him, “If I sign it now, I’ll be putting my 1943 signature on a canvas painted in 1922. No, I cannot sign it, madam, I’m sorry.” Even today, forty years after the artist’s death, the question of how his heirs exercise their right under French law to authenticate his work is a knotty one. (Read more at ARTnews.)

What Enters the Public Domain in 2013 as Defined by Copyright Laws?

Although commonly used in copyright parlance, the phrase “public domain” is often misunderstood. Public domain is commonly used to refer to content that is not protected by copyright law. Determining if a work is in the public domain in the United States is fairly complicated due to various factors such as different durations for different works and amendments in US copyright laws. (Read more at Copyrightlaws.com.)

Filed under: CAA News

Mentoring Sessions Deadline Extended

posted by January 08, 2013

As a CAA member, you have access to a diverse range of mentors at Career Services during the 101st Annual Conference, taking place February 13–16, 2013, in New York. All emerging, midcareer, and even advanced art professionals can benefit from one-on-one discussions with dedicated mentors about artists’ portfolios, career-management skills, and professional strategies.

You may enroll in either the Artists’ Portfolio Review or Career Development Mentoring—please choose one. Participants are chosen by a lottery of applications received by the deadline; all applicants are notified of their scheduled date and time slot by email in early 2013. Both sessions are offered free of charge. Conference registration, while encouraged, is not necessary to participate. All applicants must be current CAA members.

Artists’ Portfolio Review

The Artists’ Portfolio Review offers CAA members the opportunity to have digital images or DVDs of their work reviewed by artists, critics, curators, and educators in personal twenty-minute consultations. Whenever possible, CAA matches artists and mentors based on medium or discipline. You may bring battery-powered laptops; wireless internet, however, is not available in the room. Sessions are filled by appointment only and are scheduled for Thursday, February 14, and Friday, February 15, 2013, 8:00 AM–NOON and 1:00–5:00 PM each day.

To apply, download and complete the Career Development Enrollment Form or fill out the paper form in the 2013 Conference Information and Registration booklet, which will be mailed to all individual and institutional CAA members in October 2012. Send the completed form by email to Lauren Stark, CAA manager of programs; by fax to 212-627-2381; or by mail to: Artists’ Portfolio Review, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004. Deadline extended: January 18, 2013.

Career Development Mentoring

Artists, art historians, art educators, and museum professionals at all stages of their careers may apply for one-on-one consultations with veterans in their fields. Through personal twenty-minute consultations, Career Development Mentoring offers a unique opportunity for participants to receive candid advice on how to conduct a thorough job search; present cover letters, CVs, and digital images; and prepare for interviews. Whenever possible, CAA matches participants and mentors based on medium or discipline. Sessions are filled by appointment only and are scheduled for Thursday, February 14, and Friday, February 15, 2013, 8:00 AM–NOON and 1:00–5:00 PM each day.

To apply, download and complete the Career Development Enrollment Form or fill out the paper form in the 2013 Conference Information and Registration booklet, which will be mailed to all individual and institutional CAA members in October 2012. Send the completed form by email to Lauren Stark, CAA manager of programs; by fax to 212-627-2381; or by mail to: Career Development Mentoring, College Art Association, 50 Broadway, 21st Floor, New York, NY 10004. Deadline extended: January 18, 2013.

Image: A mentoring session at the CAA Annual Conference (photograph by James Rexroad)

The annual CAA Board of Directors election has begun. To participate, all you need is your CAA member ID number and password. Visit the board-election page or click the candidates’ names below to read their statements, biographies, and endorsements—and to watch their video presentations—before casting your vote.

  • Elizabeth Conner, Artist and Instructor, University of Washington Tacoma
  • Constance Cortez, Associate Professor of Art History, Texas Tech University
  • Jennifer Milam, Professor of Art History, University of Sydney
  • Debra Riley Parr, Chair of the Fashion Studies Department, Columbia College Chicago
  • Sheila Pepe, Artist and Acting Assistant Dean for Academic Affairs, School of Art and Design, Pratt Institute
  • John Richardson, Professor and Chair of the Department of Art and Art History, Wayne State University

How to Vote

Log into your CAA account with your CAA User ID# and password. Then click the Vote Now image at the center of your screen to begin the process. If you are already logged in, click the Home link at left, and then the Vote Now link.

You may vote for up to four candidates, including one write-in candidate if you wish. Ballots that indicate more than four candidates will be voided. The election ends at 5:00 PM (EST) on Friday, February 15, 2013.

Send your Proxy

CAA encourages you to attend the Annual Members’ Business Meeting at the 2013 Annual Conference in New York. If you cannot attend, please check the box appointing a proxy. By doing so, you appoint the CAA board officers named thereon—Anne Collins Goodyear, Patricia McDonnell, DeWitt Godfrey, Jacqueline Francis, Randall C. Griffin, and Maria Ann Conelli—to vote, in their discretion, on such matters as may properly come before such a meeting.

A quorum of one hundred members is needed to hold the meeting; therefore CAA kindly requests your proxy to ensure the meeting can take place. Please send your proxy by 5:00 PM EST on Friday, February 15, 2013. Thank you.

CAA has updated its directories of graduate programs in the arts, revising current entries and adding new ones. CAA’s comprehensive guides—listing 650 programs across five countries—provide prospective graduate students with the information they need to begin the application process. Graduate Programs in Art History covers four program types: History of Art and Architecture, Arts Administration, Curatorial and Museum Studies, and Library Science. Graduate Programs in the Visual Arts presents program listings in Studio Art and Design, Art Education, Film Production, and Conservation and Historic Preservation.

Organized alphabetically by school name within each program type, entries describe curricula, class size, faculty and specializations, admission and degree requirements, library and studio facilities, opportunities for fellowships and assistantships, and the availability of health insurance. To get a better sense of the content, look at these sample entries.

Individual programs types can be purchased separately as ebook or print volumes. You can also purchase individual entries in two ways: search the directories by program type, faculty specialization, awarded degrees, country, region, state, availability of health insurance, and whether or not part-time students are admitted, or browse by institution name to download individual entries as PDF files.

The directories also serve as key professional references for career-services representatives, department chairs, graduate and undergraduate advisors, librarians, professional-practices educators, and professors interested in helping emerging generations of artists and scholars find success.

For more details and to order the directories, please contact Roberta Lawson at 212-392-4404.

Filed under: Education, Publications, Students

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 December 2012–January 2013 include several important exhibitions in the United States, England, and Sweden. In New York, Lehman Maupin Gallery is hosting a two-part presentation of new work by Mickalene Thomas, whose traveling survey at the Brooklyn Museum was a November pick. Other events in the city include a temporary performance and installation work by Ann Hamilton at the Park Avenue Armory and sculpture, painting, and drawing by Caroline Burton at Accola Griefen Gallery.

Midcareer retrospectives are trending: the Andy Warhol Museum in Pittsburgh is offering a look at painting by Deborah Kass in relation to the Pope of Pop, and the New Museum of Contemporary Art in New York is showcasing Rosemarie Trockel’s mixed-media work. Across the Atlantic, Kate Davis has produced work in dialogue with Jo Spence at Drawing Room in London, and Tensta Konsthall in Stockholm is highlighting the full painting and film career of Marie-Louise Ekman.

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: Deborah Kass, Before and Happily Ever After, 1991, oil and acrylic on canvas, 72 x 60 in. (artwork © Deborah Kass)

Filed under: Committees, Exhibitions

2013 Career Services Guide to the CAA Annual Conference in New YorkCAA has designed the Career Services Guide to inform job seekers and employers about placement activities at the 2013 Annual Conference in New York. The publication, available as a PDF, will help you navigate Career Services events and provides answers to frequently asked questions. Study this guide carefully so that you will know what to expect from conference interviewing and how best to prepare for a successful experience.

Job candidates can review the basics of the conference employment search. Read about the Candidate Center, your home base at the conference, as well as Orientation, an introduction to Career Services where you can ask questions. In addition, learn more about the Online Career Center, where you can search for position listings, post application materials, and arrange interviews. The publication includes tips for improving your CV, portfolio, and supplemental application materials.

Employers will find details in the guide for renting interview booths and tables as well as recommendations for posting jobs and conducting interviews at the conference. You can begin preparations now for Career Services through the Online Career Center or onsite at the Interviewer Center.

Printed copies of the Career Services Guide will be distributed onsite at Orientation and in the Candidate Center. All conference Career Services will take place at the Hilton New York. For more information about job searching, professional-development workshops, and more, visit the Career Services section of the conference website.

Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.

Art Insurance Losses from Hurricane Sandy May Reach $500 Million

Two months after Hurricane Sandy caused severe flooding in many Chelsea galleries, the bill for the art world’s recovery is shaping up to be hefty. By mid-November, AXA Art Insurance, one of the largest art insurers, estimated that it would be paying out $40 million, and a recent Reuters report quoted industry estimates suggesting that insurance losses for flooded galleries and ruined art may come to as much as $500 million—or the rough equivalent of what the art insurance business takes in each year. (Read more from the New York Times.)

Sistine Chapel Tourists to Be Vacuumed and Cooled to Protect Frescoes

The five million tourists who visit the Sistine Chapel every year are to be vacuum cleaned and cooled down before entry in an effort to reduce the pollution damaging Michelangelo’s frescoes, the director of the Vatican museums said. Visitors who traipse sweat, dust, skin flakes, and hair into the sixteenth-century chapel will be “dusted, cleaned, and chilled,” Antonio Paolucci told the Italian daily Corriere della Sera. The heat and dirt generated by twenty thousand tourists pouring into the chapel every day has been blamed for the layers of grime accumulating on the paintings, which include Michelangelo’s depiction of God giving life to Adam. (Read more from the Guardian.)

Wondrous Horrors

Almost exactly a century ago, tens of thousands of New Yorkers converged on the 69th Regiment Armory at Lexington Avenue at 25th Street, eager to experience a dose of shock and loathing. Many more lapped up eyewitness accounts of grotesque paintings and sculpture shipped over from Europe, an art bursting with “eccentricities, whimsicalities, distortions, crudities, puerilities, and madness,” in one critic’s gleeful description. “The exploitation of a theory of discords, puzzles, ugliness, and clinical details, is to art what anarchy is to society.” (Read more from the Financial Times.)

Learning from Others’ CVs

While much of academe can be a black box (Why did a particular person get that prestigious fellowship? Why did the search committee decide to interview certain candidates? What explains an applicant’s successful outcome?), there is some information available for viewing about others’ career trajectories that is usually there for easy consulting. It is the curriculum vitae, a document that is now often readily accessible through an online search. Even if a traditional CV is not available for a particular person of interest, bits and pieces of information from here and there can help develop a sense of a person’s career path. (Read more from Inside Higher Ed.)

What Search Committees Wish You Knew

While faculty search committees tend to be fairly homogenous, made up of academics in the same field as the new hire, administrative search committees are often an odd amalgam of people with varied expertise and often-competing views. Understanding the dynamics at play within search committees and the constraints under which they exist can help candidates navigate the hiring process more effectively. Having served on my fair share of committees inside and outside academe, I thought I would let you in on their inner workings and share a few things that search committees wish you knew, but will never actually reveal. (Read more from the Chronicle of Higher Education.)

Geneva’s Art Storage Boom in Uncertain Times

It may contain a treasure trove of Picassos, but few have ever explored the riches in the Geneva free port art storage site. In difficult economic times, investors are turning to more unusual commodities to protect their money. Gold may be a tried and tested safe haven, but in recent years fine art has been attracting increasing amounts of cash. Last year global sales of art were estimated at more than $64 billion, and traders watching the market say art has consistently outperformed equities in the years between 2001 and 2011. (Read more from BBC News.)

Modern Art Notes’ 2012 Top Ten List

Tyler Green of Modern Art Notes offers his list of top ten exhibitions for 2012, which includes Florence at the Dawn of the Renaissance: Painting and Illumination, 1300–1350 at the J. Paul Getty Museum, Zoe Strauss: Ten Years at the Philadelphia Museum of Art, and A Strange Magic: Gustave Moreau’s “Salome” at the Hammer Museum. (Read more from Modern Art Notes.)

From Etta James to Ravi Shankar: Notable Arts Deaths of 2012

The art world has been rocked by a series of high profile deaths this year. From Whitney and Etta to Maeve, Gore, and Ravi, the shocks kept coming. Here we round up the obituaries of some of the most-celebrated and greatly missed artists, musicians, writers, and filmmakers who died in 2012. (Read more from the Independent.)

Filed under: CAA News