CAA News Today
Exhibitions Curated by CAA Members
posted by CAA — October 15, 2016
Check out details on recent shows organized by CAA members who are also curators.
Exhibitions Curated by CAA Members is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
October 2016
Stamp created by Bruce Conner, ca. 1957–58 (artwork © Conner Family Trust / Artists Rights Society)Anastasia Aukeman. The Rat Bastard Protective Association. The Landing, Los Angeles, California, October 1, 2016–January 7, 2017.
Patricia Eichenbaum Karetzky. Infinite Compassion: Avalokiteshvara in Asian Art. Staten Island Museum at Snug Harbor, Staten Island, New York, October 22, 2016–September 25, 2017.
Virginia Dwan standing in the installation of Language III, an exhibition that took place May 24–June 18, 1969 (photo from the Dwan Archive)James Meyer. Los Angeles to New York: Dwan Gallery, 1959–1971. National Gallery of Art, Washington, DC, September 30, 2016–January 29, 2017.
Cylinder Vessel with Pedestal Base (detail), Guatemala or Mexico, Northern Petén or Southern Campeche, possibly Los Alacranes, Maya, 650–850, Los Angeles County Museum of Art, purchased with funds provided by Camilla Chandler Frost (photograph by Yosi Pozeilov and © Museum Associates/LACMA Conservation)Megan E. O’Neil. Revealing Creation: The Science and Art of Ancient Maya Ceramics. Los Angeles County Museum of Art, Los Angeles, California, May 21, 2016–June 4, 2017.
Magda Salvesen. Jon Schueler: Weathering Skies, Watercolors. Arkansas Arts Center, Little Rock, Arkansas, August 5–October 23, 2016.
Books Published by CAA Members
posted by CAA — October 15, 2016
Publishing a book is a major milestone for artists and scholars—browse a list of recent titles below.
Books Published by CAA Members appears every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
October 2016
Anastasia Aukeman. Welcome to Painterland: Bruce Conner and the Rat Bastard Protective Association (Oakland: University of California Press, 2016).
Michael Corris. Leaving Skull City: Selected Writings on Art (Dijon, France: Les Presses du réel, 2016).
Wayne Franits, ed. The Ashgate Research Companion to Dutch Art of the Seventeenth Century (New York: Routledge, 2016).
Peter J. Holliday. American Arcadia: California and the Classical Tradition (New York: Oxford University Press, 2016).
Sharon Louden. The Artist as Cultural Producer: Living and Sustaining a Creative Life (Bristol, UK: Intellect Books, 2017).
Adair Margo and Melissa Renn. Tom Lea, Life Magazine, and World War II (El Paso, TX: Tom Lea Institute, 2016).
Craig McDaniel and Jean Robertson. Spellbound: Rethinking the Alphabet (Bristol, UK: Intellect Books, 2016).
Christina Bryan Rosenberger. Drawing the Line: The Early Work of Agnes Martin (Oakland: University of California Press, 2016).
Laura E. Smith. Horace Poolaw, Photographer of American Indian Modernity (Lincoln: University of Nebraska Press, 2016).
Nicholas Stanley-Price, Mary K. McGuigan, and John F. McGuigan Jr. At the Foot of the Pyramid: 300 Years of the Cemetery for Foreigners in Rome (Bonn: Arbeitskreis selbständiger Kultur-Institute, 2016).
Linda Stein, ed. Holocaust Heroes: Fierce Females; Tapestries and Sculpture by Linda Stein (Philadelphia: Old City Publishing, 2016).
Meiqin Wang. Urbanization and Contemporary Chinese Art (New York: Routledge, 2016).
What is myCAA?
posted by CAA — October 14, 2016
With the opening of conference registration for the 2017 Annual Conference in New York, February 15-18, you might have seen us mention our new campaign, myCAA.
myCAA is a way for us to tell our members, and even those outside our membership in the arts and culture field, that we are listening. And that we want to hear from you! myCAA is about opening up the channels of communication member to member and between the CAA staff, board, committees, and affiliates. We are all in this together, each and every person involved in CAA. From the administrative and staff side of CAA, we know the organization exists because of the support of our members and those working in the visual arts field. Your support helps us in turn support you in your professional teaching, scholarship, and art making. We see this circle as vital to the impact that art historians, artists, and scholars have on the field of visual arts and on society as a whole.
We want to hear from you on CAA Connect, our new digital discussion and resource library platform. The myCAA community is where members should post any and all thoughts they have about how to make CAA an organization that serves the profession at the highest level. How to log in to CAA Connect.
At the conference, we want to hear from you. Stop a CAA staff member, board member, or committee member in the hallway, in sessions, or in the Hilton lobby! Say hello and tell us how we can make CAA the best organization it can be to support your efforts and your work.
Call us. Email us. Write to us. Send us a carrier pigeon.
We know that our members and those working in the visual arts contribute to and improve society every single day. myCAA is the call for our members to use their voices and to tell us how we can help so you can push forward and change the world.
New in caa.reviews
posted by CAA — October 14, 2016
Laura Weigert discusses Anne Teresa De Keersmaeker: Work/Travail/Arbeid, an exhibition and site-specific work at the Centre Pompidou. Each of the nine hour-long segments features “a different combination of dancers and musicians.” According to Weigert, “the concept of work” is central to the project, along with the question of “what might dance achieve in a museum.” Read the full review at caa.reviews.
Yumi Park Huntington reviews the exhibition catalogue Chavín: Peru’s Enigmatic Temple in the Andes. Edited by Peter Fux, the essays “present new archeological excavations and new interpretations of material objects.” Using “rich and abundant data,” the contributors illustrate “the importance of analyzing a culture within its network of interactions and exchanges with contemporaneous societies.” Read the full review at caa.reviews.
Heather Diack visits This Place, a traveling exhibition initiated by Frédéric Brenner and curated Charlotte Cotton. Featuring twelve internationally acclaimed photographers, the show “claims to grapple with ‘the complexity of Israel and the Westbank, as place and metaphor,’” but ultimately “does not bring the viewer any closer to understanding the realities of this highly charged terrain.” Read the full review at caa.reviews.
Brian Madigan reads Art and Rhetoric in Roman Culture, edited by Jaś Elsner and Michel Meyer. The volume “makes a case for a prescriptive approach to the understanding of Roman visual culture” based on “Aristotle’s tripartite division of rhetoric.” While the “nature of workings” of this visual rhetoric “are still vitally debated,” the book will surely benefit “advanced scholars of Roman art.” Read the full review at caa.reviews
Caa.reviews publishes over 150 reviews each year. Founded in 1998, the site publishes timely scholarly and critical reviews of studies and projects in all areas and periods of art history, visual studies, and the fine arts, providing peer review for the disciplines served by the College Art Association. Publications and projects reviewed include books, articles, exhibitions, conferences, digital scholarship, and other works as appropriate. Read more reviews at caa.reviews.
Call for Submissions for Craft Action: Genre Bending
posted by CAA — October 13, 2016
CAA Media Lounge
105th Annual Conference NYC 2017
Submission Deadline
Nov 30, 2016
Craft Action: Genre Bending
Craft Action: Genre Bending is a juried video screening exploring the role of process, skill, and action as it relates to craft mediums. The growing interdisciplinarity of craft practices is the impetus for this call for submissions of video work by practitioners engaged craft media, such as ceramics, textiles, metals, wood, and glass. The use of video with craft enables the artist to engage in using materials and tools in combination with their representation to express new ideas, addressing making by investigating not only what is shown, but how it is shown.
Media Lounge is CAA’s main stage of new media explorations where students, academics, and artists come together to build camaraderie. These methods of working with conceptual and technical content provides fodder for a dynamic dialogue of how artists’ place themselves in the larger distinction of media, both analog and digital.
Each year Media Lounge coordinates a central theme to explore the interrelationship of media across a topic. This year in NYC, Media Lounge presents screenings, panels and discussions that explore the genres of craft and video, politics and strategy, and inter-related material explorations of new media and footage that entangles what is expected of cross-disciplinary explosions of content, surrounding the theme of Genre Bending.
Genre is a way to group practices into categories that are familiar-or frame an expected experience from the audience. Media Lounge NYC 2017 uses genre and the elasticity of bending to explore new media genre relationships and their impulse of hybrid crossovers.
Anne Sophie-Lehman has theorized that the combination of craft and film produces its own unique genre, which she calls “showing making”. Part archival, part instructional, part visual pleasure, and part showmanship, this idea of genre bending and genre production is the starting point for this year’s Media Lab theme.
Craft Action: Genre Bending seeks to explore how artists bend, break, subvert, or invent new genres for craft and film. Artists will be asked to note in their application what genre/s they see themselves as bending or creating. This may be a traditional genre, like comedy, tragedy, animation, or a craft-based genre like the instructional demonstration – or a genre yet-to-be defined that can provoke new understanding and considerations.
Artwork Requirements
All video submission must be original works of art completed within the last 3 years.
Submission Guidelines
- Entries will be accepted from the link HERE
- Artists are required to submit video as Vimeo files, opening up the access of the files to shared
- The video(s) should be an excerpt totaling no longer than 5 minutes.
- Artists may submit up to three videos to be selected
Screening Dates and Panel Discussion
CAA Conference Media Lounge
February 16, 2017
Thursday 1:30-3
Guest Curators and Conference Panelists
Marilyn Zapf is the Assistant Director at The Center for Craft, Creativity & Design (CCCD) and Curator of CCCD’s Benchspace Gallery & Workshop in Asheville, NC where she has curated a number of nationally-traveling exhibitions including Made in WNC (2015) and Gee’s Bend: From Quilts to Prints (2014). Zapf teaches courses on the History of Craft at Warren Wilson College and publishes articles and reviews in international publications, including Art Jewelry Form and Crafts Magazine (UK). She is a founding member of the international experimental history of design collective, Fig. 9, holds a MA in the History of Design from the Royal College of Art and Victoria and Albert Museum in London, England, and a BA (English Literature) and BFA (Jewelry and Metalworking) from The University of Georgia. Her areas of research include craft, postmodernism and de/industrialization.
Namita Gupta Wiggers is a curator, writer, educator and artist based in Portland, Oregon. She is the Director of Critical Craft Forum, and Exhibitions Review Editor, Journal of Modern Craft. From 2004-12 Wiggers served as the Curator, and later Director and Chief Curator (2012 -14) of Museum of Contemporary Craft. She curated over 65 exhibitions, including: New Embroidery: Not Your Grandma’s Doily, Touching Warms the Art, The Academy is Full of Craft, Object Focus: The Bowl, and Manufractured: The Conspicuous Transformation of Everyday Objects (curated by Steven Skov Holt and Mara Holt Skov), and Gestures of Resistance (curated by Judith Leemann and Shannon Stratton.). She curated the first museum exhibitions on Betty Feves, Laurie Herrick, Nikki McClure, Emily Pilloton, and Ken Shores. Recent exhibitions include Across the Table, Across the Land with Michael Strand for NCECA’s 50th Anniversary, and Everything has been Material for Scissors to Shape, on view at the Wing Luke Museum of Asian American Experience. Wiggers is editing a Companion on Contemporary Craft (Wiley Blackwell), and collaborating on a project focused on gender and jewelry with Benjamin Lignel.
Entry Fee
Free
Venue
Hilton New York Midtown, College Art Association Conference, Media lounge
ArtSpace + Media Lounge
CAA’s Services to Artists Committee hosts offerings in ArtSpace and Media Lounge, a “conference within a conference” of innovative programs that are of special interest to artists, emerging professionals, and artist / educators. ArtSpace and Media Lounge programming offers an informal, dynamic setting with sessions, panels, screenings, curated media, distinguished artists interviews, exhibition opportunities and other social events. These programs are free and open to the public, and do not require CAA membership or registration fees for the conference to participate or attend.
Thank you in advance for your participation and please feel free to contact carissacarman at gmail.com if you have questions regarding the submission.
New in caa.reviews
posted by CAA — October 07, 2016
Gina McDaniel Tarver reviews the exhibition and catalogue Moderno: Design for Living in Brazil, Mexico, and Venezuela, 1940–1978. The “rich multivocal production” occasionally fails “to tackle some of the complex issues it raises,” but “provides valuable insights into modern impulses and contradictions that manifested in compelling ways in Brazilian, Mexican, and Venezuelan design.” Read the full review at caa.reviews.
Anne Collins Goodyear examines the Getty Foundation’s Online Scholarly Catalogue Initiative (OSCI), which led to the creation of several digital catalogues by eight museums. Discussing “the implications of the project as a whole,” Goodyear finds the “undertaking represents but a first step,” yet “lays a significant foundation for the future of scholarship in the museum, and beyond.” Read the full review at caa.reviews.
Patricia Emerson discusses Drawing in Silver and Gold: Leonardo to Jasper Johns, an exhibition catalogue examining the history of metalpoint in Europe and the United States over the course of six centuries. By “studying a medium across stylistic boundaries,” the book “helps us to recognize the versatility of a medium that might have been thought, repeatedly, to be obsolete.” Read the full review at caa.reviews.
Caa.reviews publishes over 150 reviews each year. Founded in 1998, the site publishes timely scholarly and critical reviews of studies and projects in all areas and periods of art history, visual studies, and the fine arts, providing peer review for the disciplines served by the College Art Association. Publications and projects reviewed include books, articles, exhibitions, conferences, digital scholarship, and other works as appropriate. Read more reviews at caa.reviews.
RAAMP—A Digital Resource for Academic Museum Professionals
posted by CAA — October 06, 2016
Guy Laramée, The Grand Library, 2004. Altered book, pigment, metal stand, 96 x 21 x 44 inches. Courtesy of the artist and JHB Gallery. Courtesy of University of Richmond Museums, Virginia. Photo: Gordon Schmidt/University of Richmond Communications.RAAMP (Resources for Academic Art Museum Professionals) is an online repository and forum that collects, stores, and shares resources to promote scholarship, advocacy, and discussion related to the role of academic art museums and their contribution to the educational mission of their parent institutions. RAAMP aims to strengthen the educational mission of academic museums and their parent organizations, and is oriented toward colleagues at academic art museums as well as university and other museum colleagues. RAAMP is a project of CAA made possible with a generous grant from the Andrew W. Mellon Foundation.
The principal investigators for RAAMP are N. Elizabeth Schlatter, deputy director and curator of exhibitions at the University of Richmond Museums in Virginia and an officer of CAA’s Board of Directors; and Celka Straughn, Andrew W. Mellon Director of Academic Programs at the University of Kansas’s Spencer Museum of Art and a member of CAA’s Museum Committee. Schlatter says, “Art museums at colleges and universities today are creating some of the most dynamic connections to their academic communities. RAAMP creates a virtual place to share these accomplishments and gain inspiration from colleagues. Academic museums can use examples created by their peers and posted on RAAMP to enhance their offerings to faculty and students.”
Straughn adds, “They can find curricular materials utilizing museum resources to emphasize critical thinking skills or sample reports that demonstrate and quantify how a campus museum contributes to its parent institution. RAAMP is also a place to promote professional development activities, to find research related to academic museums, and to engage in discussions with fellow professionals.”
RAAMP was created in response to a 2013 CAA Annual Conference session organized by the organization’s Museum Committee. Attendees at the session expressed a need to have a digital space where they could easily share information and strategies for communicating how their academic museums contribute to the educational mission of their parent institutions.
RAAMP would not be possible without the help of its partner organizations: Association of American Museum Curators (AAMC), Association of American Museum Director (AAMD), and Association of Academic Museums & Galleries (AAMG), and representatives from the following US-based academic museum stakeholders:
The Art Galleries at Lafayette College, Bowdoin College Museum of Art, The Fowler Museum at the UCLA, Galleries of Contemporary Art at the University of Colorado, Colorado Springs; The Hood Museum at Dartmouth University, Lowe Art Museum at the University of Miami, Neuberger Museum at SUNY Purchase College, Samuel P. Harn Museum of Art at the University of Florida, Schnitzer Museum at the University of Oregon, Smart Museum of Art at the University of Chicago, Spelman College Museum of Art, Spencer Museum of Art at the University of Kansas, University of Iowa Museum of Art, University of Richmond Museums
Visit the RAAMP website to learn more.
Visit the RAAMP submissions page to submit materials.
CAA Local College Tour
posted by CAA — September 30, 2016
Students are crucial to CAA and the work we do. Support and interest from student members allows us to provide fellowships, professional development, mentorships, and job placement services to those very same students. In the coming months, CAA is visiting several local New York colleges and universities in order to connect with our youngest and one of our most vital constituencies. Below is our upcoming schedule. We hope to see you there.
Monday Oct. 10, 10AM-12PM at Parsons Fine Arts
Tuesday Nov. 1st at Pratt Institute (Time TBD)
Wednesday Nov. 2nd at Pratt Institute (Time TBD)
Friday Nov. 18th, 12PM-4PM at School of Visual Arts
New in caa.reviews
posted by CAA — September 30, 2016
Alessia Frassani reviews The Lienzo of Tlapiltepec: A Painted History from the Northern Mixteca, a collection of multidisciplinary studies edited by Arni Brownstone. Focusing on lienzos, “large painted cloths produced after the Spanish invasion of Mexico,” the book makes “a difficult but important aspect of indigenous Mexican history and culture available to a wide audience.” Read the full review at caa.reviews.
Jennifer W. Olmsted discusses Delacroix and the Matter of Finish, an exhibition catalogue edited by curator Eik Kahng for the Santa Barbara Museum of Art. The painting The Last Words of Marcus Aurelius was the impetus for the show and publication, which “build a case” for the attribution of the artwork to Delacroix while addressing issues of “authorship, pedagogy, and inheritance.” Read the full reviews at caa.reviews.
John A. Tyson examines Krista A. Thompson’s Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice. The “multifaceted,” “generally excellent” volume “explores the ways in which bling aesthetics and shining can be forms of resistance,” and “shows that non-elite culture holds up to serious academic scrutiny.”
John Szostak reads Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 by Gennifer Weisenfeld. A “comprehensive, fascinating, and informative” contribution to the subject of “disaster culture,” the book examines a “historic catastrophe through the visual-culture lens of image production and consumption.” Read the full review at caa.reviews.
Caa.reviews publishes over 150 reviews each year. Founded in 1998, the site publishes timely scholarly and critical reviews of studies and projects in all areas and periods of art history, visual studies, and the fine arts, providing peer review for the disciplines served by the College Art Association. Publications and projects reviewed include books, articles, exhibitions, conferences, digital scholarship, and other works as appropriate. Read more reviews at caa.reviews.
CAA Seeks Mock Interviewers
posted by CAA — September 26, 2016
Participants in the Interview Hall at the 2016 Annual Conference (photograph by Bradley Marks)CAA’s Student and Emerging Professionals Committee seeks established professionals to volunteer as practice job interviewers for the Mock Interview Sessions at the 2017 Annual Conference in New York. Participating as an interviewer is an excellent way to serve the field and to assist with the professional development of the next generation of artists and scholars.
In these sessions, interviewers pose as a prospective employer, speaking with individuals in a scenario similar to the Interview Hall at the conference. Each session comprises approximately 10–15 minutes of interview questions and a quick review of the application packet, followed by 5–10 minutes of candid feedback. Whenever possible, the committee matches interviewers and interviewees based on medium or discipline.
Interested candidates must be current CAA members and prepared to give six successive twenty-minute interviews with feedback in a two-hour period during one of the following times:
Thursday, February 16: 11:30AM–1:30 PM
Thursday, February 16: 3:00–5:00 PM
Friday, February 17: 9:00–11:00 AM
Friday, February 17: 2:00–4:00 PM
Interviewers should be art historians, art educators, designers, museum-studies professionals, critics, curators, and studio artists with significant experience in their fields or experience on a search committee.
You may volunteer for one, two, three, or all four Mock Interview Sessions. All sessions occur in the SEPC Lounge. Please send your name, affiliation, position, contact information, and the days and times that you are available to Megan Koza Mitchell, chair of the Student and Emerging Professionals Committee. Deadline: January 31, 2017.
The Mock Interview Sessions are not intended as a screening process by institutions seeking new hires.