CAA News Today
Between Democracies 1989–2014: Remembering, Narrating, and Reimagining the Past in Eastern and Central Europe and South Africa
posted by CAA — September 09, 2015
Judy Peter is head of the Department of Jewellery Design and Manufacture at the University of Johannesburg in South Africa and a 2012 participant in the CAA-Getty International Program.
In 2012, I was one of twenty international art historians from developing countries who received a travel grant funded by the Getty Foundation to attend the CAA Annual Conference in Los Angeles. One of the objectives of the CAA-Getty International Program is to encourage and strengthen conversations between developing countries about the commonality, diversity, and parallel histories in the discursive field of visual culture. To this end, Cristian Nae, a participant from Romania, and I conceptualized the research project “Between Democracies 1989–2014: Remembering, Narrating, and Reimagining the Past in Eastern and Central Europe and Southern Africa” (EESA). This transnational collaboration brings together scholars and artists from Eastern and Central Europe and South Africa, and draws from their cultural and disciplinary diversities and cohesions to contribute to the generation of knowledge.
Over the past three years, the EESA project has expanded to include conveners, curators, and institutions. Ljiljana Kolesnik from the Institute of Art History in Zagreb, Croatia, collaborated on the project until May 2015; Karen von Veh, a 2013 CAA-Getty program alumnus from the University of Johannesburg in South Africa, was included as a convener and curator for the project in 2013; and Richard Gregor, a 2013 CAA-Getty program participant from the Dom umenia/Kunsthalle Bratislava in the Slovak Republic, joined the project as a curator in 2013.
Framework
In 1994, new ideological and political shifts in South Africa were entrenched by a neoliberal democracy. Postapartheid South Africa was initially marked by nation-building strategies such as the Truth and Reconciliation Commission, idealistic notions of the Rainbow Nation, and the African Renaissance, all of which functioned as vehicles to grapple with the social constructions of identities in a new South Africa. These strategies reflected a rationalization of the postcolonial recovery with a sense of self and place, and they were premised on the assumptions of interchange, mixing, inter/transculturations, hybridity, and creolization. The realities of postcolonial negotiations eroded this naïve enthusiasm, however, and South African art is still located in unresolved identities and remains in search of a recovery of self. Many artists also continue their artistic practices of the “struggle years” by employing forms of activism or social commentary to highlight the ongoing inequalities that have not been erased with the removal of the old regime.
Regarding Eastern and Central Europe, Nae states: “East and Central Europe also emerged from a totalitarian regime twenty-five years ago with the demise of socialism. The collapse of the Berlin Wall prompted a reimagining of the formerly divided Europe on the grounds of different political imagined realities, economies, and bio-political regimes. Artists and curators revisited the logic of modernity and explored its unrealized possibilities, while at the same time questioning contested territorial marks and processes of un-belonging. In relation to temporality, issues of identity and reconstruction of the private and the collective selves became central themes in the recently unmarked and de-territorialised territorialized places of the ‘former East’. Thus, the question of coping with the socialist past and its heritage has been an important political issue in much of the art after 1989, overlapping issues of gender, ethnicity, class, and national belonging.”[1]
The EESA project consists of exhibitions, conferences, roundtable discussions, and peer-reviewed publications. Participants have presented, published, and curated texts and artworks, raising questions about how, why, and when the theoretical and artistic practices of these nations respond to the constructs of place and political disruption, memory and commemoration, transforming ideologies, and new contexts of acculturation. The project has considered to what extent an existing critical methodology, informed by postcolonial theory, psychoanalysis, and post-Marxist theory, contributes to understanding these discursive constructions. It also questions whether new interpretive principles should be envisioned in order to deal with a comparative perspective, with the internal disparities inhabiting these imaginary geographies.
At the 2016 CAA Annual Conference in Washington DC, Nae, von Veh, Gregor, and I will lead a roundtable discussion on these issues with the new group of CAA-Getty International Program participants. It will take place in advance of the EESA group’s second annual conference in September 2016 in Bratislava. Not only has this collaborative project enlarged our understanding of regional comparisons in a postcolonial world, but we hope it will provide a model for future cross-cultural projects among CAA members.
[1] Cristian Nae, email message to author, 2013.
CAA as a Global Site for International Collaboration
posted by CAA — September 09, 2015
Parul Dave Mukherji is a professor in the School of Arts and Aesthetics at Jawajarlal Nehru University in New Delhi, India. In 2013 she was a participant in the CAA-Getty International Program.
When I attended the College Art Association’s 101st Annual Conference in New York as a participant in the 2013 CAA-Getty International Program, little did I realize the long-term benefits of interacting with scholars from different parts of the world. While learning about different art-history teaching and research methodologies in areas as far flung from my native India as South Africa, Eastern Europe, Turkey, and China, among others, it was meeting art historians from neighboring countries such as Pakistan, Sri Lanka, and Bangladesh that laid the groundwork for future collaboration and the possibility of rethinking South Asian art history in both global and regional terms. It is indeed ironic that I “discovered” art historians from these South Asian nations in New York.
When Stephen Ross and Allana Lindgren invited me to contribute a chapter about South Asian visual arts to their edited volume, The Modernist World (New York: Routledge, 2015), I was reluctant to represent the art histories of Pakistan, Bangladesh, and Sri Lanka and wanted to invite art historians from these regions to write about their own art histories. The CAA-Getty Program played a key role by offering a global platform for art historians from diverse regions to meet and exchange notes about their research and pedagogical practices. Meeting a fellow participant, a young art historian from Bangladesh, AKM Khademul Haque, helped me develop a fuller account of South Asian modernism and paved the way for future collaborations. Haque, Simone Wille, and T. Sanathanan, and I coauthored the chapter “Visual Arts in South Asia” in The Modernist World.
‘Massacre of the Innocents’
posted by CAA — September 09, 2015
Musarrat Hasan is an advisor to the Institute of Art and Design and professor of art history at Lahore College Women’s University in Lahore, Pakistan. She was a 2013 participant in the CAA-Getty International Program.
In Pakistan, the Taliban and many other militant groups have carried out terrorist activities for the last several years, killing thousands of people through suicide bombings and other horrific attacks. Their aggression has now been greatly curtailed through the joint efforts of the military and the citizens of Pakistan. However, on December 16, 2014, seven gunmen affiliated with the Taliban conducted a terrorist attack on the Army Public School in the northwestern Pakistani city of Peshawar. They entered the school and fired on school staff, teachers, and children, killing 145 people, including 132 schoolchildren between eight and eighteen years of age.
Worldwide protest and expressions of horror at this outrage followed immediately. The artists of Pakistan, like their fellow citizens, were greatly shaken by the brutal event. Through their national organization, the Artists’ Association, they decided to make their outrage public. During a meeting of the organization’s executive committee, under the leadership of Mian Ijaz ul Hassan, the group condemned the Peshawar attack and voted to devote the upcoming annual exhibition to artistic responses to this violence. The organization sent out a notice to members and all other artists in universities, cultural bodies, and international members, announcing that the annual show would be postponed by about three weeks so that all members and other artists could participate. The title for the exhibition would be ‘Massacre of the Innocents’ and it would be about the suffering of innocents all over the world.
Although Pakistani artists have previously responded to national and international events of tragic and human significance, I do not recall a collective public response to current events by artists carried out with such immediacy. There have been instances of commissioned murals years after the event, but this sort of action was unprecedented.
At the Lahore College Women’s University, the faculty members were also motivated to participate and decided to collectively produce the mural that is illustrated here. They pooled funds to buy oil paints, panels of stretched canvas, and other materials required for the mural. I was honored to supervise the creation of this work from conception to completion. We decided not to dwell on the gruesome murders but instead to celebrate the bravery and sacrifice of the headmistress who faced the Taliban with courage and gained time for hundreds of students to escape, even though she herself was killed in the process.
The final mural is 8 x 13 feet and demonstrates the painting skills and commitment of fourteen young faculty members who worked on weekdays and late into the night, putting their hearts and souls into the timely completion. The faculty members of the Lahore College Women’s University who worked on this project were Rifaat Dar, Aasma Majeed, Amber Muneer, Aqsa Rehan, Sadia Murtaza, Samina Naseem, Farah Khan, Ghazala Anjum Shirazi, Nighat Mahboob, Rehana Salman, Rabia Yaseen, and Maryam Baber.
The exhibition at Lahore was a great success. It stirred the community and also inspired many other artists to participate in a subsequent exhibition held at the National Art Gallery in Islamabad. The Shakir Ali Museum in Lahore collaborated with the Artists’ Association in this endeavor. The exhibition is scheduled to travel to other major cities such as Peshawar and Karachi later this year.
Exhibitor and Advertiser Prospectus for the 2016 Annual Conference
posted by CAA — August 27, 2015
The Exhibitor and Advertiser Prospectus for the 2016 Annual Conference in Washington, DC, is now available for download. Featuring essential details for participation in the Book and Trade Fair, the booklet also contains options for sponsorship opportunities and advertisements in the Conference Program and on the conference website.
The Exhibitor and Advertiser Prospectus will help you reach a core audience of artists, art historians, educators, students, and administrators, who will converge in our nation’s capital for CAA’s 104th Annual Conference, taking place February 3–6, 2016. With three days of exhibit time, the Book and Trade Fair will be centrally located in the Washington Marriott Wardman Park Hotel. CAA offers several options for booths and tables that can help you to connect with conference attendees in person. The priority deadline for Book and Trade Fair applications is Friday, October 30, 2015; the final deadline for all applications and full payments is Monday, December 7, 2015.
In addition, sponsorship packages will allow you to maintain a high profile throughout the conference. Companies, organizations, and publishers may choose one of four visibility packages, sponsor specific areas, events, and objects (such as the Student and Emerging Professionals Lounge and hotel room keys), or work with CAA staff to design a custom package. Advertising possibilities include the Conference Program, distributed to over four thousand registrants and press contacts in the conference tote bag, and the conference website, seen by tens of thousands more. The deadline for sponsorships and advertisements in the Conference Program is Friday, December 4, 2015; web ads are taken on a rolling basis.
Questions about the 2016 Book and Trade Fair? Please contact Paul Skiff, CAA assistant director for Annual Conference, at 212-392-4412. For sponsorship and advertising queries, speak to Anna Cline, CAA development and marketing assistant, at 212-392-4426.
CAA Members Go to Havana
posted by CAA — August 11, 2015
Last May CAA offered a trip to Cuba to visit the Havana Biennial. In an essay, Katherine Jánszky Michaelsen, a professor of art history at the Fashion Institute of Technology, State University of New York, and a CAA member, describes her experiences in this Caribbean capital city, newly reopened to American citizens.
Outside the airport terminal we’re hit by blinding sunlight and a riot of tropical color—a golden-shower tree, and a row of the famed vintage Cadillacs and Buicks painted in Day-Glo shades of fuchsia, turquoise, and green. All week long sunshine, blue skies, lush vegetation, and vivid colors provide the backdrop of our Havana sojourn; and then there’s the music; on every other street corner someone is making music—not to mention that this is the home of the ever-popular Buena Vista Social Club band.
Timed to coincide with the XII Bienal de la Habana, the CAA trip also overlapped with the onset of the normalization of diplomatic relations between the United States and Cuba. Although Europeans have been traveling to Cuba all along, this was the first year that large numbers of Americans were able to attend the biennial. Celebration was in the air. But testing the climate for change was Tania Bruguera, the dissident Cuban artist and free-speech advocate, who was arrested—not for the first time—at a live reading she held of Hannah Arendt’s 1951 book, The Origins of Totalitarianism. Two members of our group were present at the mêlée.
As tourists we were fortunate to enjoy the expertise and connections of the Cuban-born organizer of the trip, Adolfo Nodal, a former director of the Department of Cultural Affairs in Los Angeles and author of the pioneering book on Cuban art, who has been leading trips to Cuba for a number of years. Thanks to Al, who was one of the producers, we were able to attend the world premiere of the opera Cubanacán: A Revolution in Forms; and we were invited to savor roast pork in the garden of his friend, the artist Kadir López Nieves, with whom he is working on the restoration of Havana’s vintage neon signs. In addition to our spirited and fluently English-speaking guide, Gretell Sintes, another bonus was the considerable experience of CAA member and Xavier University associate professor of art history Alison Fraunhar, also a Cuban art specialist who, for example, arranged a special lecture by Nelson Herrera Ysla, one of the original founders of the Havana biennial in 1984. Finally, traveling with CAA top brass Linda Downs and DeWitt Godfrey, and a busload of like-minded, art-savvy colleagues, ensured the exchange of useful tips, stimulating conversation, and beautiful photographs by Sherman Clarke, among others.
Every morning after partaking of the breakfast buffet that always included heaps of sliced mangoes, papayas, and melons, we assembled in the grand hall of the venerable oceanfront Hotel Nacional, built by McKim, Mead & White in 1930. In the evenings, after a full day of sightseeing, we’d lounge in the palm-tree-lined veranda sipping mojitos to the sound of a female salsa band. As the biennial venues were scattered around the city, it was possible to view historic tourist attractions—like the Plaza de la Revolución, or San Cristóbal cathedral, and at the same time take in a Tino Sehgal performance at the Centro de Arte Contemporáneo Wifredo Lam—or browse and buy prints at the Taller Experimental de Gráfica. Sales transactions can be made entirely on trust: you chose the work, take it with you, and send the check in the agreed amount to the Miami address of a relative or friend of the artist.
One day in the historic district we stumbled upon a large cage with a man wearing lace tights and stack heels locked inside. We later found out that this was a work by the Indian performance artist Nikhil Chopra, who after three days painting what he saw from behind the bars, hacksawed himself out and walked off to the delight of the cheering crowd that followed him. One particularly hot afternoon, we squeezed like eager sardines into the Church of San Francisco de Paula to watch 82-year-old artist Michelangelo Pistoletto smash large mirrors with a mallet.
The Malecón seawall was another venue where art and life mixed seamlessly. To make up for the fact that there is no beach, Arlés del Rio created a fake one complete with sand and thatch-roofed cabañas. All along the five-mile promenade tourists and locals mingled amiably among the assorted works of art; children clambered on sculptures as if they were jungle gyms; and occasionally a wave crashing against the wall would douse us with a welcome cool spray. We were not cautioned, nor evidently did we need to be—public safety was not an issue. We saw no beggars, and apart from traffic cops there was no visible police presence. But evidence of poverty was everywhere. Unlike the spiffy, lovingly restored vintage models lined up in front of our hotel, if you hailed a cab in the street, you were likely to get a Soviet-era Lada with missing window and door-handles, springs poking through the seat, and a rattling engine spewing black fumes.
Whole neighborhoods are crumbling and derelict; former single-family houses in residential areas have been chopped up into numerous smaller units; elegant mansions are in ruins; and iconic modernist buildings from the 1950s have peeling paint. Architectural preservationists describe this neglect as “preservation by poverty,” meaning that paradoxically poverty has left extant what urban renewal would have inevitably destroyed. Designers in Havana (and elsewhere) have opportunistically embraced the romantic aesthetic of ruins. For example, Guarida, one of the top restaurants in Havana, is located in a ruined building where laundry hangs on a line in the entrance hall. Likewise, an international group show, Montañas con una esquina rota (Mountains with a Broken Corner), curated by artist Wilfredo Prieto, was staged in the roofless ruin of a former bicycle factory.
Always at the ready, our tour bus comfortably transported us to outlying sites like Morro Cabaña, the historic colonial fortress on a hill that commands a breathtaking view of the city. A warren of small rooms connected by low barrel-vaulted corridors served as galleries that housed Zona Franca, an exhibition of about one hundred solo and group shows of both acclaimed and emerging Cuban artists. One afternoon we were taken to the Romerillo neighborhood where a year ago Alexis Leyva Machado, the artist known as Kcho, inaugurated (with a rare, surprise public appearance by Fidel Castro) an experimental community project, the Estudio Romerillo. For the biennial he organized an exhibition that took over the entire neighborhood and included artists from all over the world. There is a strong tradition of community service and sharing in Cuba, and established artists who enjoy special privileges are often moved to engage in activities to serve the common good. Carlos Garaicoa, a Cuban artist with an international reputation, is another example. In his spacious studio in a modernist building, he staged a group exhibition to launch Artista x Artista, an international exchange program that will include artist residencies and is based on the Open Studio program he started in Madrid in 2007. Yet another initiative created over the course of a decade for the benefit of the fishing village of Jaimanitas is an extensive and festive work of public art, Fusterlandia. Throughout the neighborhood, starting with his own house, the artist José Rodríguez Fuster painted murals and decorated the walls of dozens of houses with colorful ceramic shards in the manner of Antoni Gaudí.
Havana’s Museo Nacional de Bellas Artes (MNBA) comprises two separate buildings. The first, a majestic structure built in 1913 devoted to “arte universal,” was the venue for an exhibition titled Wild Noise—a collaboration with the Bronx Museum of the Arts that included an international roster of artists and explored a series of contemporary themes like identity, style, architecture, and community that are relevant to both the Bronx and Havana. Overseen by Bronx Museum director Holly Block, who has been engaged with Cuban art for two decades and is the author of Art Cuba: The New Generation, the exhibition was hailed as the most extensive cultural exchange between the US and Cuba in over fifty years; it will be followed in 2016 by an exhibition at the Bronx Museum organized by the Havana MNBA. A few blocks away, a modernist building from the 1950s that was fully restored and enlarged in the late 1990s showcases Cuban art from colonial times to the present. Except for the conspicuous absence of the obligatory museum book and gift shop, both the building and installation could easily hold their own anywhere in the world.
The highlight of the trip for many of us was the campus of the National Art Schools, now known as ISA (Instituto Superior de Arte). It is the subject of a book by John Loomis, Revolution of Forms: Cuba’s Forgotten Art Schools, and a poignant 2011 documentary, Unfinished Spaces, by Alysa Nahmias and Benjamin Murray. Both works tell the story that is also the subject of the opera Cubanacán: A Revolution of Forms that we attended. In 1961, while playing golf at the Havana Country Club in Cubanacán, Fidel Castro and Che Guevara had the idea that the verdant grounds of this symbol of wealth and privilege would be an ideal setting for a complex of tuition-free art schools. Architect Ricardo Porro, charged to build “the most beautiful city of the arts,” enlisted the help of two Italian colleagues Roberto Gottardi and Vittorio Garatti. Of the five proposed schools three (music, ballet, and theater arts) were sadly left unfinished in 1965 when, due to Cuba’s rapprochement with the Soviet Union, the political climate changed drastically. These buildings are now in a state of ruin and overgrown with vegetation. But the schools of modern dance and plastic arts by Porro were completed, recently restored, and continue to be in use.
The three wide arches of the entranceway of the brick-domed school of plastic arts provided the ideal backdrop for the outdoor performance of Cubanacán by the Cuban composer Roberto Valera and the American librettist Charles Koppelman. This worthy effort, previewed favorably in the New York Times, is an intriguing work in progress that deserves to be developed further, not only because it serves to publicize this unique architectural undertaking.
It was in the daylight the following day that the building came fully to life. Low-lying, hugging the ground, the stupalike domes of red brick and contrasting white plaster are surrounded by tropical green foliage—it is as strange and unfamiliar-looking as the remains of some unknown, ancient civilization. The inside of the building is bathed in natural light from the oculi in the Catalan-vaulted domes and, due to skillful positioning of corridors and interior spaces, is ventilated and comfortable even in the midday sun. The experience of the building was made even more memorable because art students were present throughout. In keeping with the biennial’s theme of the fusion of art and life, mixed in with official exhibits were working art studios open to the public, where you could engage with the art students. When I asked a young woman whether the building was an inspiration for her, she smiled, and her eyes shining brightly, vigorously nodded her head.
Captions
Photo 1: View from the Edificio FOCSA with Hotel Nacional and gardens (rear) (photograph by Sherman Clarke)
Photo 2: Nikhil Chopra, performance The Black Pearl, Plaza de Armas, Havana (photograph by Katherine J. Michaelsen)
Photo 3: Modernist buildings in disrepair, Miramar, Havana (photograph by Sherman Clarke)
Photo 4: Group exhibition, curated by artist Wilfredo Prieto in former bicycle factory, Vedado, Havana (photograph by Sherman Clarke)
Photo 5: Inner courtyard, School of Plastic Arts, ISA, Cubanacán, Havana (photograph by Sherman Clarke)
Photo 6: CAA group on steps of Club Habana, Playa, Havana (photograph by Gretell Sintes)
Committee on Women in the Arts Picks for June 2015
posted by CAA — August 10, 2015
Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship. The following exhibitions and events should not be missed. Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.
August 2015
Beverly Semmes: Feminist Responsibility Project (FRP)
Weatherspoon Art Museum
Bob and Lissa Shelley McDowell Gallery, University of North Carolina, 500 Tate Street, Greensboro, NC 27413
May 24–September 6, 2015
The Weatherspoon Art Museum at the University of North Carolina in Greensboro presents the Feminist Responsibility Project (FRP) by the New York artist Beverly Semmes. The exhibition features drawings, ceramics, suspended and illuminated glass sculpture, and video work.
“The metaphors and imagery of Beverly Semmes’s art typically flow in this direction: from the female body and out into the landscape,” Ingrid Schaffner wrote in the 2011 exhibition catalogue from Rowan University Art Gallery. This is noticeably experienced through the large fabric sculpture, Buried Treasure, on view at the Weatherspoon. Buried Treasure, made of black crushed velvet, has one arm of the dress snaking its way off the wall and across the floor of the gallery, enveloping the active space. Continuing to connect mediums in space, her video, Kick, depicts Semmes kicking a reddish-pink potato across icy terrain, the color reflective of the pot sculptures dotting the gallery landscape.
“Her totemic and abstract works create alternative lenses from which to see the body in relationship to domestic or natural landscapes,” says the Weatherspoon exhibition description. In her works on paper, Semmes manipulates photographs in vintage “gentlemen” magazines, as she calls them, covering various parts of the depicted female bodies in ink to perform “a personal act of feminist censorship, blotting out the literal to leave behind abstract, nuanced images that speak in a different voice.”
Semmes will be at the Weatherspoon on Thursday, September 3, 2015, at 6:00 PM for an artist’s talk.
Linda Nochlin: Women Artists: The Linda Nochlin Reader
Edited by Maura Reilly
Recent book release
In addition to two new essays in this recently released volume, Women Artists: The Linda Nochlin Reader, readers are treated to twenty-nine of Nochlin’s essays over her career, including “Women Artists after the French Revolution” and “Starting from Scratch: The Beginnings of Feminist Art History.”
The new anthology includes the provocative essay, “Why Have There Been No Great Women Artists?”—a continuing relevant question. In May of this year, ARTnews revisited Nochlin’s groundbreaking 1971 essay (originally published in ARTnews), exploring women in the arts today, and including eight contemporary artists replies to Nochlin’s essay. In the New York Times Sunday Book Review, the journalist Chris Kraus acclaims, “Nochlin writes with a dazzling mix of erudition and candor, but what’s most remarkable about her work is that it’s driven by an exhaustive investigation as to why and how certain artworks have been meaningful to her.”
Presenting artist monographs alongside the essays, the volume collects Nochlin’s writings on artists such as Mary Cassatt, Louise Bourgeois, Cecily Brown, Kiki Smith, Miwa Yanagi, and Sophie Calle, written in a voice that feels as contemporary as when they first appeared. Women Artists: The Linda Nochlin Reader is published by Thames and Hudson and edited by Maura Reilly, founding curator of the Elizabeth Sackler Center for Feminist Art at the Brooklyn Museum in New York.
A. L. Steiner: Come & Go
Blum and Poe
2727 South La Cienega Boulevard, Los Angeles, CA 90034
July 2–August 22, 2015
The press release from Blum and Poe presents the new exhibition Come & Go by the artist A. L. Steiner in dramatic fashion: “Between the interlude of state-sanctioned exploitation and violence, the Amerikkkin project of mass incarceration and slavery, the uncertain future of California’s viability, and planetary implosion, A. L. Steiner presents an overview of her photo archive from 1995–2015.”
Despite the chance of planetary implosion, the exhibition by Steiner is a constructed “relaxing space” dedicated to the viewing of print work. Sparsely covered white walls are adorned only with a limited number of photographs and collages, while attention in the gallery is focused on a wooden desk and file system. Through the installation, and with an archivist on hand daily, the audience is encouraged to explore twenty years of Steiner’s work.
“A. L. Steiner utilizes constructions of photography, video, installation, collage, collaboration, performance, writing and curatorial work as seductive tropes channeled through the sensibility of a skeptical queer eco-feminist androgyne,” her website bio states.
In addition to the exhibition, Steiner has collaborated with a “revolving cast of subversives and interlocutors,” including a collaboration with Shinichiro Okuda/WAKA WAKA and additional live performances by Brave Accepter, Jibade-Khalil Huffman on August 15, and YACHT on August 22; and an archivist to guide viewers daily, 10:00 AM–1:00 PM and 2:00–6:00 PM.
Women Make Movies: 2015 Catalogue
Online and Print Resource
This thirty-two-page special-edition catalogue is the first in ten years released by Women Make Movies. Focused on their collection, the catalogue includes briefs and data on classics that focus on feminism and gender studies as well as films from diverse regions from across the globe. Highlighted are Academy Award winners such as Saving Face, “a harshly realistic view of violence against women in South Asia,” and new releases, Regarding Susan Sontag and Alice Walker: Beauty in Truth—illuminating portraits of the literary giants.
The catalogue is meant to facilitate rental or purchasing access to the Women Make Movies holdings. Established in 1972, Women Make Movies is a “multicultural, multiracial, non-profit media arts organization, which facilitates the production, promotion, distribution and exhibition of independent films and videotapes by and about women.” They provide distribution services and production assistance programs, while facilitating feminist media, including a special emphasis to support work by women of color.
Yoko Ono: One Woman Show, 1960–1971
Museum of Modern Art
11 West 53 Street, New York, NY 10019-5497
May 17–September 7, 2015
The Museum of Modern Art presents the first One Woman exhibition dedicated to the work of Yoko Ono. This retrospective is a survey of the decisive decade that led up to Ono’s unauthorized exhibition (One Woman Show, Museum of Modern [F] art, 1971), revalorizing one of the most misunderstood artists of the last sixty years.
Featuring Ono’s most celebrated pieces between 1960 and 1971, the exhibition brings together approximately 125 of Ono’s early objects, works on paper, installations, performances, audio recordings, and films, alongside rarely seen archival materials. During these years, Ono (born in Tokyo, 1933) moved between New York, Tokyo, and London. A pioneer in the international development of Conceptual art, experimental film, and performance art, Ono was then creating artworks that could exist as mere instructions, meant to be executed once, multiple times, or none. Since her early projects are often based on verbal or written instructions, the exhibited pieces focus in the participation on viewers, where the artist generously opens up to their diverse responses to “complete” her pieces, or perhaps towards a sense beyond a One-Woman proposal, but rather an invitation to a collaborative creativity.
Among the exhibited pieces to be highlighted are Grapefruit (1964), Ono’s influential book of instructions; the typescript for which is displayed here page by page—consisted of nothing but terse, open-ended instructions for readers to follow—and Half-A-Room (1967), an installation of bisected, incomplete, white-painted domestic objects. The film Cut Piece (1964), documentation of one of Ono’s seminal performances, is also on view. Here, Ono confronted issues of gender, class, and cultural identity by asking viewers to cut away pieces of her clothing as she sat quietly on stage. Cut Piece remains one of the most disturbing works of performance art of the 1960s, that stands as a foundation of feminist and body-centered art.
A Feminist Fiber Art Exhibition
Traveling Exhibition and Call for participation
First venue opens August 14, 2015
Organized by Iris Nectar Studio, this DIY feminist art exhibition will feature female artists from around the world whose practice focus on fiber art. The project will take the form of an art crawl throughout the Boston area, with an opening on August 14. The project was inspired by the “Guerrilla Girls’ statistics” of women underrepresented in the art world. Originally envisioned as a little exhibit to take place in a single venue for a few weeks, the initiative was transformed into a traveling exhibition using alternative art spaces all across the greater Boston area because of overwhelming response and support. The exhibition will evolve slightly, with a different lineup of artists in each new space.
The Feminist Fiber Art Exhibition will feature artwork created by artists that identify as female. The constantly growing collection include the witty—knitting from the Icelandic artist Ýrúrarí, the historic and esoterically influenced—as well as work with strong female characters embroided by Alaina Varrone (New Haven, Connecticut), “pubism” pieces by Sally Hewitt (England), and “retex” (recycled textile) sculptures from the London-based German artist Jess de Wahls. The project online also features a zine, a blog, and a call for participation.
Michelle Stuart: Topographies: Drawings & Photographic Works 1968–2015
Marc Selwyn Fine Art
9953 South Santa Monica Boulevard, Beverly Hills, CA 90212
July 18–September 5, 2015
Marc Selwyn Fine Art is pleased to announce Topographies: Drawings & Photographic Works 1968–2015, an exhibition by the New York–based artist Michelle Stuart. Stuart (b. Los Angeles, 1933) is a multidisciplinary artist best known for a rich and diverse practice, including site-specific earth works, intimate drawings, multimedia installations, paintings, sculpture, and photographs, all centered on a lifelong interest in the natural world and the cosmos. Her work questions conventional notions of drawing as it merges performative rubbing and frottage gestures with elements of the landscape itself. Stuart brings forth imagery by both adding natural materials and revealing the texture of the earth, combining the fundamentals of both drawing and photography.
Each work is a unique meditation on the nature of memory, digitally printed on sheets of archival paper. The individual panels feature untouched and altered elements, including appropriated vintage images and her own photographs, combined in a filmic manner. These dreamlike recollections of her past not only continue her life-long artistic engagement with specific locations, but also affirm the significance of place as a unique source of memory.
The exhibition highlights include #9 Zen, an iconic scroll that will be accompanied by a selection of works on paper, ranging from early collages such as Traces to more recent indexical works in which earth and seeds are pressed and merged onto her paper supports. The second gallery features a selection of her cinematic photographs, including the walk-about narratives of The Beginning, Islas Encantadas,and Past Shadows, Orkney.
Piotr Piotrowski: In Memoriam
posted by CAA — July 22, 2015
Amy Bryzgel is lecturer in history of art in the School of Divinity, History, and Philosophy at the University of Aberdeen in Scotland.
The field of art history and culture in Central and Eastern Europe mourns the loss of its unofficial cultural ambassador: the art historian, curator, and critic Piotr Piotrowski, who died on May 3, 2015, at the age of 63. The author of numerous publications, Piotrowski was a pioneer of new methods of study and approach to the art history of the region.
Piotrowski was professor ordinarius in the Department of Art History at the Adam Mickiewicz University in Poznań, Poland, where he was also chair of the department (1999–2008) and head of modern art history (1996–2009). He was director of the National Museum in Warsaw from 2009 to 2010 and served on a number of advisory boards, such as those for the National Gallery of Prague (academic board), Ars (Slovak Academy of Sciences), and Art Margins (MIT Press, editorial board). Piotrowski was also a permanent research fellow of the Graduate School for East and South-East European Studies, a program of Ludwig-Maximilians-Universität Munich and Regensburg University. In 2010 he was given the Igor Zabel Award for Culture and Theory, which acknowledges the dedication of an arts and culture professional to deepening and broadening internationally the knowledge of visual art and culture in Central, Eastern and South Eastern Europe. He held numerous academic fellowships, from the Clark Art Institute in Massachusetts (2009), CASVA in Washington, DC (1989–90), and most recently the Getty Research Institute in Los Angeles (2015). Piotrowski’s most recent books, In the Shadow of Yalta: Art and the Avant-Garde in Eastern Europe, 1945–1989 (Reaktion Books, 2009) and Art and Democracy in Post-Communist Europe (Reaktion Books, 2012), have set the standard for comparative studies of modern and contemporary art in East Central Europe. Both are key texts not only in the field of Central and East European art history, but also for art history in general.
Piotrowski’s contributions to the field, however, go well beyond his substantial and impressive list of accomplishments. He was one of the guiding forces in the field of Central and Eastern European art history. His publications are at the forefront of the academic study and research of an area that had largely been neglected by Western scholars throughout the Cold War and is only recently expanding from its previously self-contained national histories. What’s more, Piotrowski’s project didn’t just unearth these practices and expose them to the West; in writing these histories he also criticized the so-called universal canon of art history, offering a view from “the margins” to “expose fractures within center,” to use his words. His project was to subvert the traditional geography of art, calling for a horizontal approach that would eventually contribute to the globalization of Eastern European art and help to develop a true global art history.
Those who knew Piotrowski remember his warmth and generosity and his quick, infectious sense of humor. Regardless of the situation, his personality always shined through—despite being a man of considerable achievements, publications, and awards, he was incredibly humble. Furthermore, he was extremely dedicated to the field and to his work and uncompromising in his principles, regardless of the cost to him personally or professionally. In October 2014, he organized a large and very successful conference in Lublin, Poland, entitled “East European Art Seen from the Global Perspective: Past and Present,” and was working to produce the conference reader up until his death.
All who knew his work agree on one thing: Piotr Piotrowski left us far too soon. Most of us expected to look forward to many more years of his talks, publications, exhibitions, and projects. One small bright spot we can look forward to is his forthcoming publication, From Museum Critique to the Critical Museum, edited with Katarzyna Murawska-Muthesius and published by Ashgate. Furthermore, it must be remembered that Piotrowski was a teacher—not only to his many undergraduate, postgraduate, and PhD students, but also to those who read his work and followed his example. Piotrowski taught us all very much, and in our future work, we can only hope to insure that his spirit will live on.
John Wesley William: In Memoriam
posted by CAA — July 20, 2015
Julie Harris earned her PhD in art history at the University of Pittsburgh in 1989. She teaches at the Spertus Institute for Jewish Learning and Leadership.
There was little in John Williams’s early life to suggest that he would eventually become the world’s authority on Spanish medieval art—unless one considers a boundless energy and curiosity that propelled him from an athletic childhood in Memphis, through a canoe trip down the Mississippi, service in the Marines, and eventually led him to study at Duke, Yale, and University of Michigan—where he discovered Spanish medieval art and earned a PhD in 1962. A scholar of international reputation, inspiring teacher, and family man, Williams died on June 6, 2015. He was 87 years old.
Williams taught first at Swarthmore College from 1960 until 1972. He then joined the Fine Arts Department of the University of Pittsburgh, where he remained for thirty-five years. At Pitt, Williams served as chair for five years, was named Distinguished Service Professor in 1993, and was Andrew W. Mellon Professor of History of Art and Architecture from 1997 to 2000. Among the many honors he received in his career were two Fulbrights to Spain, two NEH grants, a Guggenheim Fellowship, a visiting membership at the Institute for Advanced Study in Princeton, and an appointment as a fellow of the Medieval Academy of America.
Best known for his work on the Beatus Commentaries, Williams’s work evolved from searching for models for these manuscripts’ rich and enigmatic imagery to recognizing the individuals responsible for their creation and a careful reading of their reception. His five-volume series, The Illustrated Apocalypse: A Corpus of the Illustrations of the Commentary on the Apocalypse (Harvey Miller, 1994–2003), won the Eleanor Tufts Award from the American Society for Hispanic Art Historical Studies. Williams’s interests and research were not limited to manuscript studies; he also was an authority on the major Romanesque monuments of Spain, such as San Isidoro in León, Santo Domingo de Silos, and Santiago de Compostela. He participated in rigorous international debates over their dating, patronage, and the meaning of their decoration in all media. This work generated groundbreaking and authoritative publications in such journals as The Art Bulletin and Gesta and in collaborative volumes, some of which he edited or coedited.
John’s life-long interest in Spain did not end with his retirement from the University of Pittsburgh in 2000. In addition to ongoing work in medieval art, he recently turned his attention to securing the attribution of a neglected Goya in the Carnegie Institute. A documentary project on the Beatus manuscripts, directed and produced by Murray Grigor and the cinematographer Hamid Shams with commentary by Williams, premiered in New York at the Morgan Library and Museum last October. Even as his illness progressed, he remained engaged in academic pursuits. Determined to complete his book, he enlisted the help of a former student, Therese Martin of Madrid (CCHS-CSIC). The resulting work, Visions of the End in Medieval Spain: Tradition and Context of the Beatus Commentary on the Apocalypse, with a Census of Illustrated Manuscripts and Study of the Geneva Beatus (forthcoming from Amsterdam University Press, 2016), both introduces a recently discovered manuscript and offers Williams an opportunity to update and reassess his earlier work on the Beatus corpus.
Williams had a gift for synthetic scholarship, revealing connections across the Pyrenees and across disciplines in a way that made his art-historical analysis deep and utterly unique. Four students—Martin, David Raizman, Ann Boylan, and myself—wrote their dissertations on Spanish medieval topics under his supervision. Both as his student and in later years, I found that John’s authoritative writing and speaking style made me believe that what he was doing—and by extension what I doing—was important. John was a demanding and thorough adviser who became a delightful friend. He had little sympathy for trendy jargon but plenty of interest in new ideas. I never stopped sending him my work or seeking his approval.
A relentlessly productive scholar, Williams will also be remembered as a person of varied interests, including but not limited to fine books and martinis, music of many genres, good conversation, and the dance at Kalamazoo. He is survived by his wife, Mary; their six children; and thirteen grandchildren.
Improve Opportunities for International Cultural Activity; Support the Arts Requirement Timely Service (ARTS) Act
posted by CAA — July 10, 2015
The CAA Board of Directors has approved its support of the following notice.
Improve Opportunities for International Cultural Activity
Support the Arts Requirement Timely Service (ARTS) Act
We write to urge your support for the Arts Require Timely Service (ARTS) Act, which improves processing for visa petitions filed by, or on behalf of, nonprofit arts-related organizations by simply ensuring enforcement of current statutory requirements.
Action now will ensure that the U.S. visa process for artists is reliable, efficient, and affordable. Congress recognized the time-sensitive nature of arts events when writing the 1991 federal law regarding O and P visas, in which the USCIS is currently instructed to process O and P arts visas in 14 days. While USCIS has made recent efforts to observe this timeframe, there is a history of extreme unpredictability in the timing of the artist visa process, with wait times of up to six months.
The ARTS Act would consistently reduce the USCIS processing times for nonprofit O and P arts-related visa petitions to a total of 29 days—twice the current statutory requirement. USCIS would be required to treat any nonprofit arts-related O and P visa petition that it fails to adjudicate within the current statutory 14-day timeframe as a Premium Processing case (an additional 15-day turn-around time), free of additional charge. Previous consideration of the ARTS Act has had strong bipartisan support.
American nonprofit arts organizations and artists—in communities large and small across our country—provide an important public service and boost international diplomacy by presenting foreign guest artists in performances, educational events, and cultural programs in communities across the country. Only with consistent improvements over time, will confidence in the U.S. visa process continue to be re-built among U.S. petitioning organizations and foreign artists alike, greatly enhancing international cultural exchange.
Enactment of this provision will make enduring improvements to the visa process. Please support the Arts Require Timely Service (ARTS) Act.
American Alliance of Museums
American Association of Independent Music
American Federation of Musicians
Americans for the Arts
Association of Art Museum Directors
Association of Performing Arts Presenters
Chamber Music America Dance/USA
League of American Orchestras
Literary Network
Local Learning: The National Network for Folk Arts in Education
National Alliance for Musical Theatre
National Assembly of State Arts Agencies
National Association of Latino Arts and Cultures
Network of Ensemble Theaters
New Music USA
North American Performing Arts Managers and Agents
OPERA America
Performing Arts Alliance
TamizdatAVAIL
The Recording Academy
Theatre Communications Group
Committee on Women in the Arts Picks for June 2015
posted by CAA — July 10, 2015
Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship. The following exhibitions and events should not be missed. Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.
July 2015
Deirdre Logue and Allyson Mitchell: I’m Not Myself At All
Agnes Etherington Art Centre
Queen’s University, 36 University Avenue, Kingston, Ontario, Canada K7L 3N6
May 2–August 9, 2015
In I’m Not Myself At All, the artists Deirdre Logue and Allyson Mitchell present an “exuberant revision of sexual identity and domesticity.” The multimedia body of work on exhibit at the Agnes Etherington Art Centre at Queen’s University contains a multitude of forms and mediums, such as soft-sculpture dolls, wallpaper, crochet spider webs, needlepoint drawings, and papier–mâché.
Referring to the dolls in the exhibition catalogue, the theorist Heather Love writes, “the female body will not be cleaned up in this queer future—it will arrive trailing its effluvia: bodily fluids, odours, patches of fur, cellulite, granny panties, shag, that sucking sound.”
The artists present an oversized self-representation through amplification of the dolls genitalia, blown-up needlepoint patterned wallpaper, and a gigantic papier–mâché pink highlighter against a backdrop of feminist texts, “raising what curator Sarah E. K. Smith identifies as ‘potentiality, belonging and representation,’” via discarded feminist pasts.
Mitchell and Logue run the Feminist Art Gallery (FAG) in Toronto, which Mitchell describes on her website as “a response, a process, a site, a protest, an outcry, an exhibition, a performance, an economy, a conceptual framework, a place and an opportunity.”
Marilyn Minter: Pretty/Dirty
Contemporary Arts Museum Houston
5216 Montrose Boulevard, Houston, TX 77006
April 18–August 2, 2015
Marilyn Minter’s exhibition Pretty/Dirty at the Contemporary Arts Museum Houston “vividly manifest[s] our culture’s complex and contradictory emotions around the feminine body and beauty.” The exhibition spans Minter’s career from earlier works such as Coral Ridge Towers, of her “drug-addled mother,” to her 2014 video Smash, with “large female feet in bejeweled high-heeled shoes … dancing, sliding across the floor and smashing glass—all in Minter’s signature silver liquid.”
As a painter, photographer, and video artist, Minter offers a counterdialogue to the fashion industry, whose hypersearch for perfection and beauty are revealed in the artist’s own search for the all too human physical imperfections. “It is way too easy to criticize the fashion industry,” Minter said in her artist talk.
“Minter offers a smart woman’s critical look at issues that are otherwise presented by men for female consumption,” states the exhibition press release. “Minter shows the dual nature and slight imperfections of herself and her fellow woman, finding that true allure comes from the sensuality of imperfections.” But while Minter’s work sometimes calls attention to imperfection, there is a “pleasure rubric” in the exhibition, as Bill Arning calls his discussion with Minter. “I know pleasure exists,” Minter says, “I have it too when I look at these images.”
On view through August 2, 2015, are over twenty-five paintings from 1976 through 2013, three video works, and photographs exploring her development as an artist. The exhibition was organized by the Contemporary Arts Museum Houston and the Museum of Contemporary Art Denver. An artist’s talk with Minter, along with Arning, Elissa Auther, and Linda Yablonsky, is available online.
Installation view of Lynette Yiadom-Boakye’s exhibition Verses After Dusk at the Serpentine Gallery (June 2–September 13, 2015) in London (artwork © Lynette Yiadom-Boakye; photograph © readsreads.info)
Lynette Yiadom-Boakye: Verses After Dusk
Serpentine Galleries
Kensington Gardens, London W2 3XA
June 2–September 13, 2015
The Serpentine Galleries present Lynette Yiadom-Boakye: Verses After Dusk, the first major solo exhibition by the London-born artist. Yiadom-Boakye, born in 1977 from Ghanaian parents, was nominated for the Turner Prize in 2013. Her paintings explore figures that appear to exist outside a specific time and place. These subjects are all fictitious and drawn from memory or scrapbooks. The artist presents her “suggestions of people,” as she once put it, absent of background, or landscapes, or objects, freeing them from the restrictions of definite time, location, age, and even gender. Her characters may be presented in absence of context, but they are accompanied with enigmatic titles that encourages viewers to construct their own narratives and search a dialogue with the artist’s “poetic secrecy.”
Verses After Dusk is a survey of the artist’ recent work, presenting a comprehensive range of painterly techniques in a series that raises timeless questions of identity as well as representation in art, bringing awareness to the failings of such matters throughout art history. While the artist plays with the influence and references to eighteenth and nineteenth century masters such as Edgar Degas, Paul Cézanne, and Éduoard Manet, she deconstructs them and reconstructs the meaning, challenging the representation of black portraiture in the canon of art history. The display features exclusively black figures, pointing out the absence of references in the representation of black history in the canon of Western art.
Between the works on display, Yes Officer, No Officer (2008) unravels Manet’s famous avant-garde painting Olympia (1863). But in this case, Yiadom-Boakye substitutes the reclining nude female prostitute with a black man and completely deletes the black female servant from the background. Along an impressive collection of expressive paintings, the exhibition includes ten new etchings and introduces the artist’s less-known writings, published in occasion of the exhibition.
Zanele Muholi: Isibonelo / Evidence
Brooklyn Museum
Elizabeth A. Sackler Center for Feminist Art, Fourth Floor, 200 Eastern Parkway, Brooklyn, NY 11238-6052
May 1–November 1, 2015
Hosted at the Elizabeth A. Sackler Center for Feminist Art, the Brooklyn Museum presents Zanele Muholi: Isibonelo / Evidence. The exhibition is the most comprehensive museum presentation by the artist to date, in which the artist interlocks photography, video, and installation with human-rights activism.
Isibonelo/Evidence features several of the artist’s ongoing projects about lesbian, gay, bisexual, transgender, and intersex (LGBTI) communities, both in her home country of South Africa and abroad. The display includes eighty-seven works created between 2006 and 2014, including Muholi’s celebrated Faces and Phases portrait series, which uses firsthand accounts to speak to the experience of living in a country that constitutionally protects the rights of LGBTI people but often fails to defend them from targeted violence. In this series, and in an attempt to archive an “invisible” community, Muholi photographed around three hundred South African lesbians against plain or patterned backgrounds. Her compelling and undeniably powerful black-and-white portraits have infinite depth that allows the translation of haunting stories through a single look. The exhibition also includes the new series Weddings and the video Being Scene, which focus on love, intimacy, and daily life within the artist’s own community.
Muholi, born in 1972 in Durban at the height of apartheid, has developed for more than a decade a visual record of black lesbians in her home country, bringing visibility to communities who, although same-sex marriage has been legalized in 2006, continue to undergo hate crimes, stigma, and remain victims of “curative rape.” Through a work that claims her full citizenship as a South African female photographer who identifies as black, and also as a lesbian, the artist express her search of the deserved recognition, respect, and validation that mark and trace our existence.
Cover the issue 8 of Shotgun Seamstress
Osa Atoe: Shotgun Seamstress
Online and Print Zine
“I’m a punk and a feminist,” Osa Atoe declares on Shotgun Seamstress, her blog and fanzine the tagline describes as “old maximum rocknroll columns + new black punk rock thoughts.” In her blog post of March 24, 2015, “I Will Resist With Every Inch and Every Breath: Punk and the Art of Feminism” (which was also the name of a panel Atoe was invited to speak on at the Elizabeth A. Sackler for Feminist Art on March 12, 2015), she explains her roots in feminism and punk as well as the birth of Shotgun Seamstress in 2006. “I had a head full of feminist theory that I had acquired on my own, through my community and from school—including the very useful concept of intersecting identities … and I felt that any art I made should also be political.”
“The intersection of punk and radical politics felt natural to me,” Atoe says. Inspired by Riot Grrrl, Cometbus, and especially the zine Evolution of a Race Riot, Atoe says she set out to celebrate black punk identity within a predominantly white punk scene “that was constantly, but awkwardly attempting to address its own racism.” Atoe’s zine is not about critique, however. As she explains of her first issue, “I didn’t really talk about feminism so much, it just was feminist in its approach” (emphasis by Atoe).
You can see the full panel discussion “I Will Resist With Every Inch and Every Breath: Punk and the Art of Feminism” with Atoe and other panelists online. Printed copies of Shotgun Seamstress are available from Mend My Dress Press.
Agnes Gund: Fame, Fortune, and the Female Artist
Five Points Gallery, 33 Main Street, Torrington, CT
July 10 at 7:00 PM
Five Points Gallery is pleased to announce an upcoming lecture by Agnes Gund, a renowned philanthropist, civic leader, and devoted supporter of women’s issues. Gund, a president emerita of the Museum of Modern Art and chair of its International Council, will speak on “Fame, Fortune, and the Female Artist.” The talk will be free and open to the public on a first-come first-served basis. Five Points Gallery is a nonprofit fine art gallery showcasing professional regional and national visual artists in order to foster an understanding and appreciation of contemporary art in the community.
House, Work, Artwork: Feminism and Art History’s New Domesticities
University of Birmingham, UK
July 3–4, 2015
This conference is motivated by the premise that it is appropriate for feminist art history to revisit and newly configure theoretical, methodological, and political debate around modernist, postmodernist, and contemporary artistic practice in relation to the domestic. The debate is particularly timely in the light of art and art history’s “new” domesticities. These include queer art history’s turn toward the domestic as a site for imagining, making, and inhabiting space within or without the heteronormative, and recent art-historical and curatorial projects focusing on modern and contemporary art practice and the home—but in which the question of feminism is downplayed in favor of more generalized concepts of subversion, labor, and belonging. The keynote speakers are: Mignon Nixon from the Courtauld Institute of Art in London and Julia Bryan-Wilson of the University of California, Berkeley. For further information, contact Francesca Berry, Department of Art History, Film, and Visual Studies, University of Birmingham; and Jo Applin, Department of History of Art, University of York.