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There has been little change in diversity among senior leadership. (Smithsonian Magazine)
Ten classes—tackling topics from biohacking the brain to the importance of play—to help enhance your creativity. (Artsy)
“The bigger issue is systemic. At some point soon we will be forced into a real conversation about what education reparations look like.” (Inside Higher Ed)
While the overall figure comes as good news, there is considerable variation in support for higher education across the states. (Forbes)
“Calling attention to absence is a good thing. It can show the way that the history of collecting and subsequent museum use shapes the history we can or can’t tell.” (Medium)
As an interdisciplinary subject, art history is full of opportunities. (Artsy)
Affiliated Society News shares the new and exciting things CAA’s affiliated organizations are working on including activities, awards, publications, conferences, and exhibitions.
New Media Caucus
Media-N: Journal of the New Media Caucus
Recent Publication Vol 15 No 1 (2019): Autonomous Art Systems
For this issue, guest editors Nick Bontrager and Adam Fung invited submissions about the use of “Autonomous Art Systems.” Submissions included work on tethered and untethered systems of making, autonomous vehicles, and related programming in creative fields of study. Relevant subjects included: artworks that address concepts of drones or surveillance as subject or form; the influence of emerging technologies on studio art practices; or critical/historical analysis of the entanglement of art and technology.
NMC Events at CAA, 2019
2/13/19, 10:30 PM-12:00 PM, New York Hilton Midtown, Rendezvous Trianon, NMC Panel: Reframing Innovation: Art, the Maker Movement and Critique, chairs: Victoria Bradbury Suzy O’Hara
2/13/19, 12:30 PM-1:30 PM, New York Hilton Midtown – 2nd Floor – Sutton North, NMC Business Meeting: open to members and non-members alike.
2/13/19, 2:00 PM-3:30 PM, Media Lounge, Data Détournement, organized by Derek Curry (Northeastern University) and Jennifer Gradecki (Northeastern University).
2/14/19, 2:00 PM-3:30 PM, Media Lounge, Digital Art and Activism, organized by Morehshin Allahyari and Angela Washko (Assistant Professor of Art, Carnegie Mellon University)
2/14/19, 8:00 PM-9:30 PM, Hunter College MFA Building, 205 Hudson Street, New York, NY 10013, NMC Member Showcase, hosted by Christina Freeman, Department of Art & Art History, Hunter College of the City University of New York
2/15/19, 2:00 PM-3:30 PM, Media Lounge, Good Artists Torrent, Great Artists Fork, organized by Nick Bontrager (Texas Christian University) and Taylor Hokanson (Columbia College Chicago)
For more information on the above, and information on additional panels involving NMC members, consult the following list: http://www.newmediacaucus.org/caa-2019-in-nyc/
SYMPOSIUM + EXHIBITION
SUBMISSIONS ACCEPTED THROUGH FEB. 28, 2019
EXHIBITION DATES: SYMPOSIUM DATES:
9/20/19 – 11/10/19 9/19/19 – 9/22/19
Allison Collins, Media Arts Curator, Western Front
Borders and boundaries, both tangible and ephemeral, are closely tied to the ways in which humanity has made sense of the world and of our historical place in it. Yet historically, borders have figured as sources of tension and contestation as much as legibility and certainty. In our current moment, the promise of reassurance offered by borders and boundaries is being radically undermined and challenged by processes such as climate change, rapid techno-scientific development, and the unraveling of traditional hierarchies and stereotypes, as well as of accepted notions of demographic, political and economic boundaries.
How do you navigate borders in your own practice or research?
The New Media Caucus seeks to bring together artists and scholars who critically engage the topic of borders and boundaries through their practice and research.
International Sculpture Center
Red Grooms & Seward Johnson will be awarded with the 2019 Lifetime Achievement Award on April 18, 2018 at a Gala in NYC.
The Call For Panels is now open for the 29th International Sculpture Conference – the deadline to apply is March 14.
The ISC invites you to nominate up to 3 talented sculpture students for the Outstanding Student Achievement in Contemporary Sculpture! Head to our link now and join as an ISC University level member to get started
Students who are interested should talk to their professors about getting involved. To find out more about the program please visit the website http://www.sculpture.org/StudentAwards/2019 or email email@example.com
FATE (Foundations in Art: Theory and Education) News: http://www.foundations-art.org/
Join us during CAA 2019 for FATE’s Affiliate session, “Get Up, Stand Up: Contingent Faculty and the Future of Higher Education in the Visual Arts,” Friday, Feb 15, 2019, from 6 – 7:30pm in the Bryant Suite at the New York Hilton Midtown. Chaired by Naomi J. Falk and Richard Moninski, with panelists Christopher Williams, Mark Stemwedel, and Laura Rodman Huaracha. Increasingly, tenure-track positions disappear, contingent faculty numbers swell, and those who are left standing teach more classes. Is this sustainable and how do we support each other? https://caa.confex.com/caa/2019/meetingapp.cgi/Session/2304
Register for FATE’s 17th Biennial Conference, “Foundations in Flux,” will be hosted by Columbus College of Art & Design in Columbus, Ohio on April 4th-6th, 2019. Registration includes Breakfast & Lunch for each day of the conference. https://www.foundations-art.org/conference
Foundations in Flux will host various workshops led by FATE members during the conference on Friday April 5th. Workshop sessions have limited numbers of seats & participants must register in advance, there are NO ADDITIONAL FEES to participate in these workshops. All workshops will be held on the campus of CCAD. All seats are on a first-come basis and some workshops will require materials to be supplied by the attendee. Please read all workshop details below before making your selection(s). For more info and to register: https://docs.google.com/forms/d/e/1FAIpQLSdKwlrpTANzrgZICqL0LzyvG8Qwc3x_yw4ABLo2z7zu3dvDUw/viewform
Positive Space is FATE’s bi-monthly podcast providing opportunities for those passionate about art foundations to discuss and promote excellence in the development and teaching of college level foundations in art & design studio and history classes. To check out the latest episode, featuring FATE President, Valerie Hanks, discussing her recent workshop about discomfort and empathy in the classroom, visit: https://www.foundations-art.org/positive-space
If you have podcast ideas, contact us! Positive Space has a phone number: 904-990-FATE. Give us a call & record a message today!
American Institute for Conservation
Please join us at the 2019 AIC Annual Meeting being held at the Mohegan Sun, located in Uncasville, CT, May 13-17. With over 1,400 attendees, the AIC Annual Meeting is the largest international conservation and collection care conference held in North America. Visit our Annual Meeting webpages to see the online schedule and learn about the nearly 200 talks and events. Some highlights of the 2019 meeting include a new Opening General Session featuring TED-style talks, hundreds of specialty talks, and engaging lunch programing.
The Mohegan Sun, centrally located in New England, offers a 4-star quality hotel experience at a low nightly rate of $139 for AIC Annual Meeting attendees. We also have a block of student rooms starting at $98 per night. Getting to the Mohegan Sun is easy. Those located between Washington DC and Boston can drive or take Amtrak. AIC is also running direct buses from New York City and Boston. For more information on our host hotel, view the accommodations pages.
The proximity to major East coast cites allows AIC to offer workshop and tours all over New England during our pre-session, May 13-14. Visit the online schedule to view our pre-session offerings.
We welcome you to register now for the 2019 AIC Annual Meeting!
Visual Resources Association (VRA)
Tools and Trends in Visual Resources
The Visual Resources Association is using a scheduled business meeting at the annual College Art Association conference to share information about some of the tools that curators are using to enhance and manage digital image collections and discuss new trends in the field of visual resources and art librarianship.
Three speakers will be presenting their work in these areas:
Cataloging at Artstor: A New Look at Tried and True (and some AI) Strategies
Lisa Gavell, Senior Manager of Image Content at Artstor
Maximizing Metadata: VRA Embedded Metadata Tools
Marcia Focht, Curator of Visual Resources at Binghamton University
Images as Research Data
Jasmine Burns, Visual Resources Metadata Librarian at Cornell University and Chair of the Upstate New York Chapter of VRA.
Please join us for provocative presentations with time for questions and discussion on Friday, February 15th, 2019, in the Morgan Suite at the New York Hilton Midtown, from 12:30 to 1:30 pm.
This event is free and open to the public, so you do not need to be a CAA member or to register for the conference to attend this business meeting. If you wish to attend regular sessions, the book and trade fair, or other CAA conference activities, you must register. Advance registration for the full conference ends on Jan 30th, 2019 (only 3 days left), but single timeslot and day passes may be purchased onsite (not available in advance).
For questions, please contact:
Maureen Burns, IMAGinED Consulting & VRA CAA Affiliate Representative
firstname.lastname@example.org or 310-489-3792
The Call for Papers for SECAC 2019 in Chattanooga is open at https://secac.secure-platform.com/a/solicitations/home/5.
SECAC 2018: 74th ANNUAL CONFERENCE
In October, SECAC met for the 74th time in Birmingham, Alabama, hosted by the University of Alabama at Birmingham. Over 120 sessions were held, and 561 members representing 284 institutions attended. In its eighth year, participation in the SECAC mentoring program remained high with 40 members meeting as mentors and mentees.
Highlights of the conference included the SECAC 2018 Annual Juried Exhibition at UAB’s Abroms-Engel Institute for Visual Arts and a keynote address at the Birmingham Museum of Andrew Freear of the Rural Studio.
At the annual business meeting SECAC President Sandra Reed of Marshall University introduced new members of the Board of Directors: Alabama, Wendy DesChene, Auburn University; Florida, Jeff Schwartz, Ringling College of Art and Design; Kentucky, Eileen Yanoviak, Carnegie Center for Art and History; Louisiana, Jill Chancey, Nicholls State Univeristy (continuing); North Carolina, Kathryn Shields, Guilford College; and At Large #3 Claire Kovacs, Augustana College.
SECAC 2019 will be hosted by the University of Tennessee at Chattanooga, October 16-19. Calls for presentations, juried exhibition entries, and award applications will be published on the SECAC submissions site at https://secac.secure-platform.com/a in early 2018.
AWARDS PRESENTED AT SECAC 2018
The SECAC Artist’s Fellowship, a $5,000 prize, was awarded to photographer Karen Graffeo, Professor of Art at the University of Montevallo, author and photojournalist Julio Larramendi, photographer and editor at Ediciones Polymita in Cuba, photographer Sonja Rieger, Professor of Photography at the University of Alabama at Birmingham, and Alabama-based photographer and filmmaker Carolyn Sherer. Their proposed exhibition, My Other Body: Trans-Culture, Transgender Cuba/Alabama, will be on view at SECAC 2019 in Chattanooga, Tennessee.
Andrew Wasserman, Visiting Assistant Professor at the University of North Carolina at Greensboro, won the 2018 Levin Award for his project Bang! We’re All Dead! The Places of Nuclear Fear in 1980s America.
The 2018 SECAC Award for Excellence in Teaching was presented to Wendy DesChene, Professor of Art at Auburn University.
The 2018 SECAC Award for Excellence in Scholarly Research and Publication was awarded to Olga U. Herrera, Director of the Washington Office of the Inter-University Program for Latino Research (IUPLR) headquartered at the University of Houston, for American Interventions and Modern Art in South America, University Press of Florida, 2017.
The 2018 SECAC Award for Outstanding Exhibition and Catalog of Historical Materials was presented to Keri Watson for In the Eyes of the Hungry: Florida’s Changing Landscape, exhibited at the UCF Art Gallery and the Terrence Gallery at the Orlando City Hall in 2017.
The 2018 SECAC Award for Outstanding Exhibition and Catalog of Contemporary Materials was given to Vesna Pavlović, Associate Professor of Art at Vanderbilt University, for the exhibition Vesna Pavlović’s Lost Art and its catalog edited by Pavlović and Morna O’Neill.
Thirty-four graduate students received Gulnar Bosch Travel Awards: Virginia Badgett, University of California, Santa Barbara; Gráinne Coughlan, Dublin Institute of Technology; Stephanie Crawford, Rutgers University; Erin Davenport, University of North Carolina at Chapel Hill; Julia Detchon, University of Texas; Parissa Farmoudehyamcheh, Georgia Southern University; Dilmar Mauricio Gamero Santos, Tyler School of Art, Temple University; Elyse D. Gerstenecker, University of Virginia; Caroline Gillaspie, The Graduate Center, CUNY; Amy Catherine Hulshoff, University of New Mexico; Manami Ishimura, Texas A&M Corpus Christi; Ally Johnson, University of Illinois at Urbana-Champaign; Tacie Jones, Virginia Tech University; Holly Kelly, University of Tennessee, Knoxville; Sharon Khalifa-Gueta, Ben Gurion University of the Negev; Patricia Lagarde, Tulane University; Mia Laufer, Washington University in St. Louis; Kimiko Matsumura, Rutgers University; Mary Mazurek, IDSVA ; Reed O’Mara, Case Western Reserve University; Ellie Perendy, Baruch College; Kathleen Pierce, Rutgers University; Catherine Popovici, The University of Texas at Austin; Ali Printz, Tyler School of Art, Temple University; Lily F. Scott, Temple University; Roberta Serra, Université Paul Valéry; Lauren Elizabeth Shea, University of Illinois at Urbana-Champaign; Jeff Siemers, IDSVA; Lauryn Smith, Case Western Reserve University; Tracy Spencer Stonestreet, Virginia Commonwealth University; Sarah Tietje-Mietz, Syracuse University; Vanessa S. Troiano, The Graduate Center, CUNY; Angela Whitlock, IDSVA; and Hayley Woodward, Tulane University.
Juror Peter Baldaia, Director of Curatorial Affairs at the Huntsville Museum of Art, selected Over There To Here (Gatlinburg), 2018, by Stacy Isenberger, University of Idaho, as Best in Show at the SECAC 2018 Annual Juried Exhibition. He also recognized five participants with Juror Awards: Joshua Brinlee, University of Mississippi, for Self-Portrait as Provider, 2017; Lily Kuonen, Jacksonville University, for Hewn, 2017;
Jessica Mongeon, Arkansas Tech University, for Drunken Trees: Permafrost Melts, Leaving Uneven Ground, 2017; Duane Paxson, Independent Artist, for Denying Dendera, 2018; and John Douglas Powers, University of Tennessee–Knoxville, for Terra Nuova, 2017.
The EAHN wishes to draw attention to the three calls for proposals described below, all organized by EAHN’s Urban Representations Work Group, for the conference “The Global City: Urban Condition as a Pervasive Phenomenon” organized by the A.I.S.U. (Associazione Italiana di Storia Urbana) in Bologna, 11-14 September 2019.
The deadline for submitting abstracts has been extended to February 10th.
Abstracts indicating name, affiliation, email address, brief cv, and a description of the proposed topic of no more than 2000 characters should be sent both to the chairs of the session and to the conference organizers (email@example.com) using the form found on the conference website http://www.storiaurbana.org/index.php/en/component/content/article/9-congressi/1131-bologna-2019-call-for-paper-uk
Session 3-5 “The Photo-book and the City”
The term ‘photo-book’ was coined in the 1920s by László Moholy-Nagy and went on to define a popular genre within 20th-century visual culture. While this genre emerged within the ‘New Vision’ of the inter-war period, it has a broader history that goes beyond the modernist avant-gardes. What role did this unique form of publication play within the history of urban representation? The aim of the session is to focus on the photo-book as an instrument for reading, analysing, and interpreting cities through a curated sequence of images. There is a long cultural and artistic history of these illustrated books, spanning from the late-19th to the early-21st century, which calls for comparative investigation. A tentative list should include celebrated examples, ranging from Alvin Langdon Coburn’s works inspired by Japanese view-making cultures (London 1909; Edinburgh 1909; New York 1910) to seminal books by Brassaï (Paris de nuit 1932), Berenice Abbott (Changing New York 1939), Horacio Coppola (Buenos Aires 1936) and William Klein (New York 1956; Rome 1959), but we are equally interested in less-known publications. Attention will also be given to by the work of photographers trained as architects who used the camera to capture specific qualities of urban space, such as Norman Carver (Italian Hilltowns 1979) and Gabriele Basilico, whose observations of cities around the world (Milan; Beirut; Berlin; Moscow; Istanbul) were the subject of carefully curated volumes. There is a history here that awaits to be written; one that is made all the more significant by the recent use of photo-books to preserve the narrative of urban campaigns stretching over decades (e.g., works by Martin Parr and Garry Badger published by Phaidon). Gradually, as with other photographic trends, this type of representation has been taken up by contemporary artists, historians, architects and urban designers for a variety of urban explorations. We encourage participants to propose case-studies as well as reflective papers focusing on photo-books across the history of photography – from its origins to the latest digital developments. Contributions that address the role of various figures involved in the production, circulation, and reception of these publications (e.g., photographers; editors; publishers; etc) are also welcome.
Session 6-4 “Reading the City’s Histories Through Visual Documents”
Every city contains multitudes, presenting a collective artifact made up of innumerable places and lived narratives. Most present-day cities also overlay multitudes, covering or transforming earlier iterations of themselves. Our knowledge of those older layers, of urban landscapes since recast, quickly surrenders to the mortality of personal memory. We then come to depend heavily on the persistence of physical artifacts that capture fragments of the past city, whether through survivals and traces in the present-day built landscape or through records — textual, visual, and sometimes even three dimensional — of those largely supplanted deeper layers of the urban palimpsest.
But the city is a big and complicated artifact, and every such representation must be a purposeful distillation, begging questions of the part and the whole, and of choice. Each favors some kinds of information over others, and all demand a considered examination of the lens adopted by their creators, retrospectively framing the visual document in the context of agency, motives, models, and expected function. At the same time, even as we are conscious of such filtering frames, we want to ask what they tell us about their subject, as they offer posterity some of our best evidence of these places in time. They allow us to better see and read the built landscapes they portray as patterns of forms, as socio-economic artifacts, as settings of living and working and gathering, of entrepreneurial ambitions and communal organization, across the globe and through history.
For this session, we especially invite contributions that look to and interrogate visual documents that capture lost aspects of the city of both distant and recent history at a range of scales — from detailed surveys of common building forms to purposefully selected sets of views, from closely transcribed plans and streetscapes of whole blocks and neighborhoods to maps of larger spatial networks and depictions of a city as a whole — that offer us insights on both that city and our own vantage point, in terms of our intentions and responses, in our looking at and to it.
Contact person: Anat Falbel firstname.lastname@example.org
Chairs: The EAHN Interest Group “Urban Representations” (organized by group members Jeffrey Cohen, Anat Falbel, Min Kyung Lee, Nancy Stieber)
Session 6-6 “Stories We Tell: Narratives of Urban Space”
Architectural sites as tourist attractions challenge the histories and memories of the urban collective. The city beckons the potential visitor (both tourist and local alike) through the aestheticization and cultural branding that serve, particularly through pervasive mediatizations, to narrativize urban space that may be in contrast to, or stacked amongst, stories of place. This session will engage an assortment of pressing questions about the relationship of architecture to tourism and memory specifically to position concepts of demolition, preservation, heritagization and new construction within urban (geopolitically-shaped) sites, for no site is detached from place; no touristic visit can effectively be accomplished without considering — in some measure — the story of a place and the memories it holds for all those who dwell or pass through it. No guidebook is disentangled from interpretive memories and stories that contribute to how tourists come to learn about a site. Questions such as whose memories become the stories of a tourist’s encounter with a place, or how do we consider the terms heritage or heritagization within the context of placemaking and memory stories, will be discussed. Finally, what constitutes the memory or (competing) memories of a place in order for it to be preserved (and subsequently branded for a tourist economy)?
Chair: Shelley Hornstein email@example.com
NEWS FROM ASSOCIATION FOR TEXTUAL SCHOLARSHIP IN ART HISTORY
AWARDS for Students and Scholars
In commemoration of our 30th anniversary, ATSAH plans to offer two awards: one prize for the best article by an emerging scholar (no higher than Associate level). The topic may range from classical to Pre-Raphaelite art, reflecting the aims of ATSAH. The second is a small travel grant for junior scholar presenting a paper an ATSAH session.
The board of ATSAH selects these awards.
For further data, contact:
Liana Cheney, PhD, President of ATSAH
ATSAH Session at CAA 2019
Special Edition in Iconocrazia Vol 13 – 2018
Art, Astronomy, Politics, and Religion
Liana De Girolami Cheney
Giorgio Vasari’s Moral Virtues in the Oratory of the Compagnia del Gesù at Cortona: Physical and Metaphysical Power
Liana De Girolami Cheney
Edward Burne-Jones’s The Mirror of Venus: Physical and Intangible Female Beauty in Journal of Literature and Art Studies 9, no. 1 (January 2019):1-28.
International Association for Word and Image Studies (IAWIS)
A selection of articles from the IAWIS Dundee conference (2014) has now been published in book form. The volume is entitled:
Art and Science in Word and Image: Exploration and Discovery, Brill/Rodopi (Word and Image Interactions, volume 9), edited by Keith Williams, Sophie Aymes, Jan Baetens and Chris Murray
It is available at https://brill.com/view/title/36202
- “Photographie et théâtre”, Revue internationale de photolittérature, ed. Marianne Drugeon, Christine Kiehl, Jean-Pierre Montier et Laurence Petit, n° 2, 2018. https://www.fabula.org/actualites/revue-internationale-de-photolitterature_88524.php
- Converging Lines: Needlework in English Literature and Visual Arts edited by Rachel Dickinson & Laurence Roussillon-Constanty, Revue E-Rea, n° 16.1/2018: https://journals.openedition.org/erea/6451
- Next IAWIS Triennial Conference
CALL FOR SESSIONS Water and Sea in Word and Image, University of Luxembourg, July 5th – 10th, 2020
In an era in which water scarcity is threatening us all and the mainland is affected even in the depths of its epicenter by what is happening on its shores, it seems of great importance to propose a subject both acutely topical and strongly tied to the collective imagination. In Alessandro Baricco’s novel Ocean sea (1993), the fictional character Plasson paints the sea with seawater. This emblematic scene sums up our topic to some extent: water is difficult to grasp and yet concerns us more and more. Shapeless, still waiting to be defined, it even resists any effort of conceptualization. Putting water and the sea into words and into images is not obvious, represents a real discursive and plastic challenge and is therefore particularly likely to call into question the relationship between text and image. Due to its rhythm “without measure” (Deleuze & Guattari, 1980), water as an element transcends Lessing’s dichotomy between arts of time and arts of space (see Louvel, 2002). The water’s unspeakable nature does not coincide with its invisible essence. Yet, literary and plastic narratives constitute an actual semiosphere with, at its borders, an area where the semiotic links are violated (Lotman, 1966), the realm of the unstable, the arbitrary, the unaccountable.
Located at the heart of the European continent – however tightly interconnected with its periphery –, cradle of the siren Melusine, territory boasting its natural springs and its balneology, Luxembourg seems to be the appropriate place to host a world congress on this subject.
Abstracts for sessions should be a maximum of 300 words.
N.B.: All conference participants must be members of IAWIS/AIERTI (http://iawis.org/) and in order with their membership fee before the conference.
The deadline for SESSION PROPOSALS is February 28th, 2019. Submissions are to be dropped on our website: https://waterandsea2020.uni.lu
The selection committee will contact you before March 30th, 2019 about the outcome of your application.
POTENTIAL CONFERENCE SESSION THEMES
N.B.: The sessions consist of one or maximum two panels of 1h30 each (three papers). The panels will offer a tribune to experienced researchers in Word and Image Studies and/or young scholars (doctoral students/postdocs) whose proposals the chairs of the elected sessions will gather and select. The word and image interaction should be formulated in the title of the session. Please indicate if your session fits with one or several of the potential themes listed below (e.g.: 1, 7, 12).
- Water, a natural element (its virtues and dangers) and an esthetic challenge
- Water as energy in science and arts
- The biblical or mythical imaginary of water and sea
- Aquatic and maritime myths, rites and marine, fluvial or lacustrine folklore
- Melusine, nymphs, naiads and other sirens
- The seaside or still water in painting and literature
- Balneology, its history and actuality
- Harbours in texts and images
- Insular or peninsular cultures
- Touristic promotion of natural heritage (seaside, lakes, rivers)
- Aqueducts, thermal baths and dams in the Greater Region
- The Mediterranean Sea, the Atlantic and the Pacific Ocean (shores, fauna, cultural and market routes, migration)
- Graphic novel, comics or cartoons on sea, water or migration
- Water and sea in film, video or in digital artefacts
- The future of water in arts and media
- Water scarcity, drought and sustainable issues in word and image
- The sea as epistemological metaphor (shipwreck, raft, wave, hurricane, liquidity, archipelago, foam)
- Scientific or imaginary cartography
- Other related topics
The Association of Historians of Nineteenth-Century Art (AHNCA) is pleased to announce that the Sixteenth Annual Graduate Student Symposium in the History of Nineteenth-Century Art, co-sponsored by AHNCA and the Dahesh Museum of Art, will be held on Sunday, March 24, 2019 (10:00 am – 5:00 pm), at the Dahesh Museum of Art, 145 Sixth Ave., New York, NY. The Mervat Zahid Cultural Foundation has generously provided the Dahesh Museum of Art Prize of $1,000 for the best paper. Information about the speakers and brief abstracts of their papers will be available online at http://ahnca.org/index.php/symposia after February 6, 2019.
Historians of German, Scandinavian, and Central European Art and Architecture (HGSCEA)
The Board recently awarded travel stipends to two members of HGSCEA, Sara Blaylock and Lauren Hanson, to help defray the costs of their participation in CAA’s annual conference. The Board also juried this year’s HGSCEA Emerging Scholars Prize competition, the winner of which will be announced at the reception and dinner in New York. As always, the dinner, which will take place on Thursday, February 14, from 7 to 9 p.m., is free to current members. For further information, contact a member of the Board.
HGSCEA’s sponsored session at the annual CAA conference, “Women Artists in Germany, Scandinavia, and Central Europe, 1880-1960,” is being chaired by Kerry Greaves on Saturday, February 16, from 10:30 a.m. to 12:00 p.m.. Emil Leth Meilvang, Nora Butkovich, Lauren Hanson, and Lynette Roth will read papers on Rita Kernn-Larsen, women in the Young Yiddish Group, Mary Bauermeister, and Anneliese Hager. For more information, go to the HGSCEA website (http://hgscea.org/ ) and the conference website (https://caa.confex.com/caa/2019/meetingapp.cgi/Session/1607)
The annual business meeting is scheduled for Friday, February 15. It will take place in the Harlem Room on the 4th Floor of the New York Hilton Midtown from 12:30-1:30 p.m. Members are welcome to attend.
The Midwest Art History Society
The Midwest Art History Society (MAHS) would like to call your attention to its recent e-publication Monumental Troubles: Rethinking What Monuments Mean Today, searchable by its title in WorldCat. The publication records selected papers presented at the 2018 MAHS Annual Conference held in Indianapolis. The essays in this e-volume contribute to contemporary conversations about public monuments, broadly defined as commemorative objects, images, and spaces, and the responses to them, including the calls to remove, relocate, or destroy them. Contributors consider these “monumental troubles” from multiple historical, geographic and theoretical perspectives, suggesting a generative rethinking about why they were made and how their meaning changed over time.” The original conference sessions were organized by Erika Doss, University of Notre Dame and the publication effort was guided to its successful conclusion by Cheryl Snay of the Snite Museum of Art.
And please consider attending the 2019 MAHS Annual Conference to be held in Cincinnati, March 21-23. The Cincinnati Art Museum & the Taft Museum of Art are conference hosts, keynote speaker is Hollis Clayson. Conference registration includes special tours, receptions, and more. Reduced fees for early registration end on March 1. Book a room in the Hilton Netherland Plaza at a discounted rate before Feb 27. Click the link below to register online & book a room. https://www.mahsonline.org/conference/register
What: CAA session: The Female Impact: Women and the Art Market in the Early Modern Era
When: Thursday, February 14, 2019, 2:00 PM – 3:30 PM
Where: New York Hilton Midtown – 2nd Floor – Morgan Suite
CHAIRS: Judith Noorman and Frans Grijzenhout
What: HNA Reception
When: Friday, February 15, 2019, 5:30-7 pm
Where: Syracuse University Lubin House, 11 East 61st Street, New York, NY
Please RSVP to Amy Golahny, Golahny@Lycoming.edu
The European Postwar and Contemporary Art Forum has changed its governance structure and will now be headed by a team of co-chairs. Lily Woodruff has transitioned from her previous role as president, and is now joined by Raffaele Bedarida. Raffaele is an art historian and curator specializing in twentieth-century Italian art and politics. In particular, his research has focused on cultural diplomacy, migration, and cultural exchange between Italy and the United States. He is an Assistant Professor of Art History at Cooper Union, New York. Bedarida is the author of two monographs in Italian, Bepi Romagnoni: Il Nuovo Racconto (Milan: Silvana Editoriale, 2005) and Corrado Cagli: La pittura, l’esilio, L’America (Rome: Donzelli, 2018; English edition upcoming), and numerous articles for academic journals (International Yearbook of Futurism Studies, Oxford Art Journal, Tate Modern’s In Focus) and exhibition catalogues (MART, Rovereto; CIMA, New York; Fundacion Juan March, Madrid; Frederick Kiesler Foundation, Vienna). He holds a PhD from the Art History Department of the CUNY Graduate Center, as well as MA and BA degrees in Art History from the Università degli Studi di Siena, Italy. Bedarida is currently working on the manuscript for his book: ‘Like a Giant Screen:’ The Promotion of Contemporary Italian Art in the United States, 1935–1969.
Public Art Dialogue (PAD)
Public Art Dialogue (PAD) will present its 2019 PAD Award for achievement in the field of public art to art collective fierce pussy during next week’s conference. Please see the announcement here: https://publicartdialogue.org/news/2019-01-09/2019-pad-award-fierce-pussy
Comprehensive Appraisal Studies Program (CASP)
Now Accepting CASP Applications!
The Appraisal Institute of America, the educational foundation of the Appraisers Association of America is now accepting applications for our Comprehensive Appraisal Studies Program (CASP) for both the Summer 2019 and Fall 2019/Spring 2020 Semester.
Enroll in CASP to learn to appraise the fine and decorative arts. Completing CASP will provide you with a certificate in Appraisal Studies from the Appraisal Institute of America.
For more information and to apply, please visit our website at www.appraisersassociation.org/CASP.
Society of Architectural Historians
The Society of Architectural Historians has been awarded a two-year, $508,000 grant from The Andrew W. Mellon Foundation to study the status of the field of architectural history in higher education. The grant provides support for a data-gathering initiative that will gauge the health of architectural, urban and landscape history as fields of study, as well as degree programs and curricula across the higher education landscape. SAH plans to hire a post-doctoral researcher to design and manage the study to determine where, and in what ways, these fields of study are expanding, receding, changing, or holding steady and to consider the structural or cultural factors behind such trends. SAH also will hire a Project Coordinator to assist with the project. Visit the SAH Career Center for full job descriptions.
SAH has named architect Aymar Mariño-Maza and architectural historian Zachary J. Violette as the recipients of the 2018 H. Allen Brooks Travelling Fellowship. The fellowship allows an emerging scholar to travel the world to experience architecture and landscapes firsthand. SAH awarded Mariño-Maza a one-year fellowship and Violette a short-term fellowship for three months of travel. They will begin their fellowship travels in March 2019 and will document their field studies through monthly updates on the SAH Blog.
SAH invites nominations and self-nominations for the next Editor of the Journal of the Society of Architectural Historians. JSAH is a quarterly, blind-peer reviewed international journal devoted to all aspects of the history of the global built environment and spatial practice, including architecture, landscape architecture, urbanism, and city planning. Published since 1941, JSAH has defined the field of architectural history, and is a pioneer in digital publication. Nominations due by April 30, 2019.
Association of Print Scholars
The Association of Print Scholars is pleased to host its affiliated society panel at the College Art Association conference on Friday, February 15, 2019 in New York.
Chaired by Christina Michelon (University of Minnesota, Twin Cities), Coloring Print examines global printmaking traditions that advance our understanding of the role of the medium in the social construction of race. The papers chosen include “Red Ink: Ethnographic Prints and the Colonization of Dakota Homelands” by Annika Johnson (University of Pittsburgh); “Sites of Contest and Commemoration: The Printed Life of Richard Allen, America’s Early Race Leader” by Melanee C. Harvey (Howard University); “A Franco-Indian Album: Firmin Didot’s Indian Paintings and Le Costume Historique’s Chromolithography (1888)” by Holly Shaffer (Brown University); and “The White Native Body in Asia: Woodcut Engraving and the Creation of Ainu Stereotypes” by Christina M. Spiker (St. Catherine University).
Aaron M. Hyman and Dana Leibsohn have been awarded the Association of Print Scholars 2018 Publication Grant to support the forthcoming publication related to their project “Washing the Archive: Indigenous Knowledge, European Prints, and Colonial Histories of Latin America.”
The co-authored project focuses on the circulation of prints in colonial Latin America, highlighting unpublished documents and the methodological provocations indigenous practices can offer traditional early modern print histories. The funding supplied by the grant will provide both authors the opportunity to travel to the Library of Congress and to the University of Virginia to complete their study of indigenous uses of European prints in Spanish America, especially practices of re-use, circulation, and loss under colonial conditions. The $2,000 award is funded by the Association of Print Scholars and through the generosity of C.G. Boerner and Harris Schrank. We thank both print dealers for their support of APS and its mission.
SOCIETY OF HISTORIANS OF EASTERN EUROPEAN, EURASIAN, AND RUSSIAN ART AND ARCHITECTURE (SHERA)
The following members were elected to the SHERA Board: Kristin Romberg (Vice President/President Elect); Corina Apostol (Web News Editor); and, Anna P. Sokolina (SHERA-SAH Liaison). Karen Kettering now serves as President, Alice Isabella Sullivan as Secretary-Treasurer, and Yelena Kalinsky as Listserv Administrator.
Aglaya K. Glebova (UC-Irvine) has been awarded the SHERA Emerging Scholar Prize for her essay “Elements of Photography: Avant-garde Aesthetics and the Reforging of Nature” (Representations 142, Spring 2018). Ekaterina Heath (University of Sydney) was selected as the recipient of the SHERA Travel Grant for CAA 2019 to will deliver her paper entitled “Picturing the Cathay in Russia: Political use of Chinoiserie interiors under Empress Elisabeth Petrovna and Emperor Peter III.”
The generous anonymous donor who has funded the SHERA Travel Grant has increased their support to allow for more grants and to enlarge the pool of eligible applicants. The award was initially given out once per year, for travel to CAA and ASEEES conferences in alternate years and was limited to graduate students. Going forward, the Travel Grant will be awarded twice per year for travel to both CAA and ASEEES. Additionally, independent scholars who receive no institutional support are now eligible to apply. US-based scholars will receive $1,000 and scholars traveling from outside the US will receive $1,500. Calls for applications are published on H-SHERA and on CAA Opportunities.
SHERA’s Board would like to continue developing online resources for scholars and teachers in our field using the H-SHERA platform, including book reviews, sample syllabi, up-to-date contact information for obtaining image permissions, conference reports, information about graduate programs, or other resources. If you have ideas or would like to volunteer to help with this effort, please write to the H-SHERA editors at firstname.lastname@example.org.
Association of Art Museum Curators (AAMC) & AAMC Foundation
Association of Art Museum Curators (AAMC) & AAMC Foundation is currently accepting applications for its Conference Travel Fellowships for curators to attend its Annual Conference and Meeting. Since 2010 alone, over 200 individual Curatorial Travel Fellowships have been awarded.
This year we are proud to offer two opportunities:
- Conference Travel Fellowship for Junior Curators. Open to junior curators with less than ten years of experience. Funding generously provided by the Samuel H. Kress Foundation.
- Art Fund / AAMC Conference Travel Fellowship. Open to UK curators to travel, network and develop relationships with their international peers. These Fellowships are a collaboration between Art Fund and AAMC Foundation.
All applicants must commit to participating in the full Conference program (May 4-7, 2019 in New York City) at the time of application, including the all deadlines (non-negotiable), timelines, and travel. A stipend is granted as part of this Program to subsidize the travel requirements. Multiple curators from one museum are eligible, though individuals may only submit one application per year.
Each Fellowship has a separate application, and members may apply to one Fellowship only. Applications for both of these AAMC Foundation Conference Travel Fellowships are due via our online application portal by 12pm ET on Tuesday, February 12, 2019.
To view the full program benefits, eligibility, and the link to the applications, please visit:
Association of Art Museum Curators (AAMC) Foundation is pleased to announce Digital & Outward Engagement, the next installment in its regional In-Conversation series. Launched in 2016, AAMC Foundation’s In-Conversation series brings together local communities and expands networks.
Slated for Tuesday, February 26 at the Philadelphia Museum of Art, In-Conversation: Digital & Outward Engagement features six perspectives on building bridges between museums and their audiences through the use of ever-evolving technologies and digital tools. Moving past social media and traditional websites, this event brings together Philadelphia’s leading voices to dig deeper into the ways in which technology can help advance dialogues with visitors, donors, colleagues, and the larger global community. They will touch on the current efforts and platforms in the digital sector, and consider ways in which they could be used to help better connect with audiences. With a look at the topic from varying perspectives, we’ll also have the opportunity to reflect on ways to collaborate as well.
Moderated by Christopher D.M. Atkins, Ph.D, Agnes & Jack Mulroney Associate Curator of European Painting & Sculpture and Manager, Curatorial Digital Programs & Initiatives, Philadelphia Museum of Art, this program features Aaron Miller, Senior Producer, Digital Media, The Franklin Institute; William Noel, Associate University Librarian & Director, Kislak Center for Special Collections, Rare Books and Manuscripts Director, Schoenberg Institute for Manuscript Studies, Penn Libraries; Amy Sadao, Daniel W. Dietrich, II Director, Institute of Contemporary Art, University of Pennsylvania; Ariel Schwartz, Kathy and Ted Fernberger Associate Director of Interactive Technologies, Philadelphia Museum of Art; and Neville Vakharia, Program Director, Arts Administration Campus Program and Associate Professor and Research Director, Drexel University, Westphal College of Media Arts & Design.
This In-Conversation will be hosted at the Lecture Auditorium at the Philadelphia Museum of Art’s Perelman Building on Tuesday, February 26, 2019 from 6:30pm – 8:00pm, followed by a short reception from 8:00pm – 8:30pm. Space is limited so pre-registration is required. Click here to reserve your seat!
ACASA – Arts Council of the African Studies Association
- ACASA welcomes new board members:
Peri Klemm, President
Peju Layiwola, President Elect/VP
Shannen Hill, Past President
Raphael Chikukwa, Secretary
Rachel Kabukala, Treasurer
Fiona Siegenthaler, Newsletter Editor
Erica Jones, Assistant Website Editor
Cynthia Becker, ASA Liaison
Olubukola Gbadegesin, CAA Liaison
El Hadji Malick Ndiaye
In office since 2017:
Nadine Siegert, Website Editor & ECAS Liaison
Brenda Schmahmann, Facebook Manager
Anitra Nettleton, ASA Task Force for the Protection of Academic Freedom
We thank our outgoing board members Silvia Forni, Jordan Fenton, Yaëlle Biro, Cécile Fromont, Liese Van der Watt, Deborah Stokes, Leslie Rabine and Cory Grundlach for their great work and wish them all the best for the future!
- Africa, Technology, and Visual Cultures: ACASA sponsored panel at the 107th CAA Annual Conference, NYC, February 14, 2019, 8.30-10.00am
Join us at the ACASA sponsored panel Africa, Technology, and Visual Cultures chaired by Amanda Kay Gilvin with paper contributions by Suzanne Preston Blier, Stephen Adéyemí Folárànmí, Kate Ellen Cowcher and Fiona Siegenthaler.
- Behind-the-Scenes at the Brooklyn Museum during 107th CAA Annual Conference, NYC February 15, 2019, 10.15am- 12.00pm
Join Kristen Windmuller-Luna, Sills Family Consulting Curator of African Arts, for a behind-the-scenes tour of the new exhibition One: Egúngún. Featuring a Yoruba (Nigerian) masquerade costume composed of over 300 African, Asian, and European textiles, the exhibition uses new research and multiple perspectives to emphasize the global connections and contemporary contexts of African masquerades. Information about the exhibition: http://brooklynmuseum.org
Limited space: RSVP at bkm.nyc/caa2019acasa
H-AfrArts is looking for Editors and Advisory Board Members to join the team and share duties and responsabilities on a voluntary basis.
The Editor role involves moderating discussion posts and general CfPs. There is also an exciting opportunity (optional) to develop new content based on your interest and initiative, such as developing Teaching and Research Resources, Conference Reports, and Cross-Network Projects. A minimum of one year committment is required for this role. For a full description of the duties of Editors please consult: https://networks.h-net.org/node/905/pages/80264/becoming-editor
The Advisory Board Members assist with the general development and welfare of the Network and advise Editors in cases in which there are disputes with the members (such as when a post is rejected and a subscriber appeals). A minimum of two years commitment is required for this role. To find out more, please visit: https://networks.h-net.org/h-net-advisory-board-members
About the Network:
H-AfrArts is an international network jointly sponsored by H-Net (Humanities Online) and ACASA (Arts Council of the African Studies Association-USA) to provide a forum for the discussion and exploration of African art and expressive culture. There are a number of reasons and benefits for joining H-AfrArts Network, these include:
Collaboration: Volunteering with an H-Net Network can be an excellent opportunity to work within a multi-disciplinary and committed editorial team.
Engagement: H-AfrArts Network provides an excellent opportunity to engage with, support, and develop your field of study.
Best Practice: H-Net is committed to supporting editorial best practices. You will receive comprehensive H-Commons online training to moderate and safeguard the content of the network.
Support: H-Net has a Home Office staffed by trained historians, an online training program, a Help Desk, and a separate space where its Editors can discuss questions and concerns relating to academic best practices and project development.
Durability: H-Net is committed to the long-term digital preservation of its academic content.
Visibility: H-Net’s content is available online for free and uses an email notification system to deliver academic content directly to subscribers.
How to Apply:
Applicants must demonstrate expertise in African Arts and have regular and reliable access to email.
If you are interested, please send your CV and a covering letter by email to: email@example.com
For any questions or help please contact: Helena Cantone – Advisory Board firstname.lastname@example.org
Applications will be accepted until the positions are filled.
This is a voluntary position: The H-Net is a non-profit organization run by academics and built around a committed community of volunteers.
- Call for Applications: AFRICAN CRITICAL INQUIRY PROGRAMME: IVAN KARP DOCTORAL RESEARCH AWARDS FOR AFRICAN STUDENTS ENROLLED IN SOUTH AFRICAN Ph.D. PROGRAMMES
Closing Date: Wednesday 1 May 2019
The African Critical Inquiry Programme is pleased to announce the 2019 Ivan Karp Doctoral Research Awards to support African doctoral students in the humanities and humanistic social sciences who are enrolled at South African universities and conducting dissertation research on relevant topics. Grant amounts vary depending on research plans, with a maximum award of ZAR 40,000.
The African Critical Inquiry Programme (ACIP) seeks to advance inquiry and debate about the roles and practice of public culture, public cultural institutions and public scholarship in shaping identities and society in Africa. The Ivan Karp Doctoral Research Awards are open to African postgraduate students (regardless of citizenship) in the humanities and humanistic social sciences. Applicants must be currently registered in a Ph.D. programme in a South African university and be working on topics related to ACIP’s focus. Awards will support doctoral research projects focused on topics such as institutions of public culture, particular aspects of museums and exhibitions, forms and practices of public scholarship, culture and communication, and the theories, histories and systems of thought that shape and illuminate public culture and public scholarship. Awards are open to proposals working with a range of methodologies in the humanities and humanistic social sciences, including research in archives and collections, fieldwork, interviews, surveys, and quantitative data collection. For full information about this opportunity and how to apply, see the full Call for Proposals listed under “ACIP Opportunities” on the website: http://www.gs.emory.edu/about/special/acip.html.
- Call for proposals to organize a workshop: AFRICAN CRITICAL INQUIRY PROGRAMME Closing Date: Wednesday 1 May 2019
The African Critical Inquiry Programme invites proposals from scholars and/or practitioners in public cultural institutions in South Africa to organise a workshop to take place in 2020. The African Critical Inquiry Programme (ACIP) seeks to advance inquiry and debate about the roles and practice of public culture, public cultural institutions and public scholarship in shaping identities and society in Africa.
ACIP Workshops are intended as annual occasions to identify and address critical themes, fundamental questions and pressing practical issues concerning public culture. For instance, Workshops might focus on particular notions and issues related to publics, visuality, museums and exhibitions, art, performance, representational forms, or institutional forms from different methodological, practical, and theoretical vantages. They might examine forms and practices of public scholarship and the theories, histories and systems of thought that shape and illuminate public culture and public scholarship. Workshops should encourage comparative, interdisciplinary, and cross-institutional interchange and reflection that brings into conversation public scholarship in Africa, creative cultural production, and critical theory. Workshop budgets will vary depending on proposed plans; the maximum award is ZAR 60,000.
Applications may be submitted by experienced scholars and cultural practitioners based in universities, museums, and other cultural organizations in South Africa who are interested in creating or reinvigorating interdisciplinary, cross-institutional engagement and understanding and who are committed to training the next generations of scholar-practitioners. Applications may be submitted by a single individual or a pair of individuals who have different institutional affiliations and bring different perspectives, approaches, or specializations to the proposed Workshop theme.
For full information about this opportunity and how to apply, see the full Call for Proposals listed under “ACIP Opportunities” on our website. A list of previously supported ACIP Workshops is also available there: http://www.gs.emory.edu/about/special/acip.html.
The Pay-as-you-Wish Day Pass is back for the CAA 2019 Annual Conference in New York City, February 13-16! For the third year in a row we are happy to offer the pass as a way for students, adjunct faculty, or anyone not able to afford a full conference registration to attend any part of the conference for a full day.
Pay-as-you-Wish is available onsite only at the New York Hilton Midtown. It is open to everyone, CAA members and non-members alike, with no advance registration needed. Pay-as-you-Wish purchases can be made with any registration staff or the Pay-as-you-Wish helpers in the registration area.
Suggested Pay-as-you-Wish Day Pass price: $25
The Pay-as-you-Wish Day Pass allows for full, one-day access to the conference, and if you want to return the next day, a full day pass must be purchased.
The Annual Conference will feature over 300 sessions, a bustling Book and Trade Fair, and the free and open to the public Academic and Cultural Network Hall with professional development workshops, Idea Exchange, and booths of leading cultural non-profits and educational institutions.
The Keynote Speaker for 2019 will be Joyce J. Scott, sculptor, craftsperson, and 2016 MacArthur Fellow. The Distinguished Artist Interviews will feature Julie Mehretu interviewed by Julia Bryan-Wilson and Guadalupe Maravilla interviewed by Sheila Maldonado. The Distinguished Scholar for the 107th CAA Annual Conference is Dr. Elizabeth Boone, the Martha and Donald Robertson Chair in Latin American Studies at Tulane University.
CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship to share with CAA members on a monthly basis. See the picks for February below.
January 31 – February 24, 2019
Amos Eno Gallery, Brooklyn
“Anger is an assertion of rights and worth. It is communication, equality, and knowledge. It is intimacy, acceptance, fearlessness, embodiment, revolt, and reconciliation. Anger is memory and rage. It is rational thought and irrational pain. Anger is freedom, independence, expansiveness, and entitlement. It is justice, passion, clarity, and motivation. Anger is instrumental, thoughtful, complicated, and resolved. In anger, whether you like it or not, there is truth…If ever there was a time not to silence yourself, to channel your anger into healthy places and choices, this is it.”
Soraya Chemaly, Rage Becomes Her: The Power of Women’s Anger (2018, Atria Books)
Artist Rosemary Meza-DesPlas explores all of these elements of anger and more through her sinuous lines in hand-sewn human hair drawings, watercolors and onsite installations in her solo show, Jane Anger, the title referencing a 16th century pamphlet published in England titled Jane Anger, Her Protection for Women. She also utilizes art history as inspiration by juxtaposing found art historical imagery along with social media and mass media imagery, exploring how the social movements, Women’s Marches and #MeToo, harnessed anger in order to forefront an array of gender-based burdens, presenting anger as a tool rather than detriment, as media often reflects. Moreover, by using her own gray hair in her drawings, Meza-DesPlas implicates further thought on socio-cultural symbolism, feminism and body issues, and religious symbolism, invoking both contemporary and classical perspectives around anger. Building on the multi-media experience, during the opening reception, the artist will present her piece titled Intervals of Anger, performing a poem every fifteen minutes. Taken altogether and individually, Jane Anger will surely rile and provoke audiences on this timely issue.
January 12 – March 2, 2019
Leslie Tonkonow, New York
The first solo exhibition of Helène Aylon in New York since 1979, Elusive Silver is a great introduction to the perceptual intricacies and feminist intent of the work of this understudied pioneer through her eponymous 1969-1973 abstract painting series. Comprising works that reflect and refract an inner glow that changes visually with the viewer’s stance and the light conditions, this first exploration of process-driven painting made with industrial materials such as sheet metal, acrylic plastic and spray paint is a potent prelude of her signature late-1970s works physically changing, as intended, with the passage of time.
Born in 1931 and raised within the Ultra-Orthodox Jewish community in Boro Park, Brooklyn, Aylon was married to a rabbi at the age of eighteen and became widowed, with two young children, at the age of thirty. While in her mid-twenties, she enrolled as an art major at Brooklyn College, taking classes with Ad Reinhardt who became her friend, her true mentor who freed her work, while also introduced her to Mark Rothko, with whom she shared the spiritual foundations of their common cultural backgrounds. Refraining from mark-marking, beginning in 1969, however, Aylon experimented with the idea of creating “painting that revealed itself,” in an attempt to introduce an evolving feminist consciousness in painting.
December 8, 2018 – March 31, 2019
Kunsthalle im Lipsiusbau, Dresden, Germany
Curated by Suzanne Altmann, The Medea Insurrection redresses the marginalization of the vanguard women artists working in the German Democratic Republic and their radical female perspective—largely due to the institutional predilection for East Germany’s male figurative painters before and after the Wall’s fall. The Medea Insurrection illuminates the singularly radical idioms of an intergenerational selection of multimedia women artists and rarely shown groups from East Germany and highlights their conceptual and artistic affinities with more recognized artists from other socialist countries in light of their shared provocative turn to mythology and empowering reinterpretation of female figures –such as Medea, Cassandra or Penthesilea—as means to advance contemporary, often punk, images of women, and protest both bourgeois and socialist role models. With this “double refusal” they were exposing themselves often to more risk than their male colleagues, who prior to 1989 often turned to codes of ancient mythology to express their discontent with the communist rule yet in painting. Performance artist Gabriele Stötzer, for instance, was imprisoned as a dissident and faced years of surveillance by the Stasi. Christa Jeitner too was banned from exhibiting in the 1970s, as was Cornelia Schleime who fled to the West in 1981.“From a lack of freedom, a certain freedom emerges,” as put by the curator, who argues that women artists were often more radical in such contexts of artistic unfreedom—perhaps because they were working so far under the official radar that they could take greater risks.
The exhibition brings together the work of rarely shown performance and fashion group Allerleihrauh, the visual dissidence of Dresden artists Angela Hampel, Christine Schlegel, Cornelia Schleime and Karla Woisnitza, the feminist experimentations of the filmmakers’ group Efurt, from Thuringia, an intergenerational mixture of East Berlin photographers such as Gundula Schulze Eldowy, Tina Bara, Evelyn Richter and Sibylle Bergemann, as well as Christa Jeitner and performance artist Gabriele Stötzer with Magdalena Abakanowicz (Poland), Geta Bratescu (Romania), Katalin Ladik (Hungary), Zofia Rydet (Poland), Zorka Saglova (Czech Republic) and Alina Szapocznikow (Poland), among others, capturing, their defiant risk taking, talent for improvisation, self-irony, and categorical reinterpretation of classical materials and motifs across their different media. It also draws parallels to the 1980s, when Else Gabriel (Germany) and Hanne Wandtke (Germany) carried out risky performance experiments as part of the Dresden group Autoperforationsartisten.
January 13 – April 14, 2019
Potts Gallery (Los Angeles)
Some conversations are historical-actual—often resulting in the production of treasure troves of personal material (letters and/or gifts exchanged as signs of connection and engagement)—and other conversations must, by dint of our temporal realities, be virtual. When Corita Kent died in 1986, Matt Keegan was only ten years old—yet this did not stop the young artist from finding a point of contact in Kent’s work. On sabbatical in Cape Cod Kent produced a series of work that melded the color-combinations of naval signal flags with a variety of source material (the book of revelation, Winnie the Pooh, and others) to create a vibrant abecedarium. Years later, Keegan has taken Kent’s historical work and created his own series based on the radical juxtapositions offered by the former nun. Bringing the two together in virtual dialogue is a reminder as to how artist’s trajectories extend far past their own lives, and how we might continue to have conversations with the past.
January 19 – May 12, 2019
Museum of Fine Arts, Boston
Born in Mexico City in 1942, Graciela Iturbide has spent her career photographing daily life for the variety of indigenous populations that live in Mexico, and Latin America more broadly. A mentee of Manual Álvarez Bravo—who taught at the Universidad Nacional Autónoma de México (UNAM), where Iturbide attended—her work is both a paean to, and departure from Bravo’s exacting formalism. In the late 1970s Iturbide received two important commissions, both to photograph segments of Mexico’s many indigenous communities. These commissions resulted in the publication of Juchitán de las Mujeres, a defining moment in Iturbide’s storied career. Her engagement with matrilineal and matriarchal indigenous communities, not to mention the presence of the Zapotec genderqueer muxe, meant that Iturbide’s photography has necessarily engaged questions of gender, sex, and social cohesion. As Iturbide’s prominence increased, she was invited to devise and complete projects all over the world – yet this exhibition makes a case for Mexico as the near-constant geographic touchstone running throughout her practice.
The weekly CAA Conversations Podcast continues the vibrant discussions initiated at our Annual Conference. Listen in each week as educators explore arts and pedagogy, tackling everything from the day-to-day grind to the big, universal questions of the field.
This week, Rosie Liljenquist and Anne Diekema discuss Open Educational Resources (OER).
Rose Liljenquist is an Open Educational Resources librarian at Gerald Sherratt Library, Southern Utah University. Anne Diekema is also a librarian at Gerald Sherratt Library and an assistant professor at Southern Utah University.
Cynthia Colburn reviews Beyond the Nile: Egypt and the Classical World by Jeffrey Spier, Timothy F. Potts, and Sara E. Cole. Read the full review at caa.reviews.
Emily Davenport Guerry writes about The Sainte-Chapelle and the Construction of Sacral Monarchy: Royal Architecture in Thirteenth-Century Paris by Meredith Cohen. Read the full review at caa.reviews.