CAA News Today
Affiliated Society News for May 2015
posted by CAA — May 09, 2015
American Society for Aesthetics
The American Society for Aesthetics (ASA), an association for aesthetics, criticism, and theory of the arts, will mark the twenty-fifth anniversary of the founding of the ASA Feminist Caucus Committee with a full day of workshop discussions, followed by a celebratory reception, on Saturday, November 14, 2015. The Feminist Caucus Committee anniversary is part of the annual ASA conference, to be held November 11–14 at the Desoto Hilton in Savannah, Georgia. Noted scholars will discuss the evolution and contributions of feminist scholarship within philosophical aesthetics and the history of the ASA and its publication, The Journal of Aesthetics and Art Criticism. Topics will include: “Forty Years of Feminist Scholarship in Aesthetics,” “The Influence—Hidden or Otherwise—of Feminist Scholarship in Aesthetics,” and “Feminist Pedagogy and Curricula in Aesthetics.” For more information, please visit http://www.aesthetics-online.org/feminist/ or contact Peg Brand.
American Society of Hispanic Art Historical Studies
The American Society of Hispanic Art Historical Studies (ASHAHS) announced an award at its business meeting at the CAA Annual Conference in February 2015. The Eleanor Tufts Book Award, which recognizes an outstanding English-language publication in the area of Spanish or Portuguese art history, went to Glaire D. Anderson for The Islamic Villa in Early Medieval Iberia: Architecture and Court Culture in Umayyad Córdoba (Burlington, VT: Ashgate, 2013).
Art Libraries Society of North America
The Art Libraries Society of North America (ARLIS) met in Fort Worth, Texas, from March 19 through 23, 2015, for its forty-third annual conference. The conference’s theme, “New Frontiers on the Old Frontier,” allowed members to explore current and emergent interests in the art and visual-information profession. The society awarded the George M. Wittenborn Memorial Book Award to Arthur K. Wheelock Jr. of the National Gallery of Art for Dutch Paintings of the Seventeenth Century. The ARLIS/NA Distinguished Service Award was given to Daniel A. Starr, deputy chief librarian at the Metropolitan Museum of Art.
Read about incoming members of the executive board.
Association for Modern and Contemporary Art of the Arab World, Iran, and Turkey
The Association for Modern and Contemporary Art of the Arab World, Iran, and Turkey (AMCA) has awarded the 2015 Rhonda A. Saad Prize for Best Graduate Paper in Modern and Contemporary Arab Art to Christopher Barrie for “Myth and Mythology on the Nile: The Surrealism of Georges Henein and ‘Abd al-Hadi al-Gazar.” Barrie is a master’s degree student in Middle East politics at the School of Oriental and African Studies at the University of London. His paper analyzes the treatment of myth in the poetry of Henein and the visual art of al-Gazzar. The paper challenges understandings of al-Gazzar’s “Contemporary Art Group” as the first example of a purportedly authentic national Egyptian art and instead looks to analyze the dialogical interpenetration of the cosmopolitan and the local in al-Gazzar’s work.
Association of Academic Museums and Galleries
Save the date for next annual conference of the Association of Academic Museums and Galleries (AAMG) in Washington, DC: the weekend of May 20, 2016.
AAMG is in the process of compiling standards and documentation for Best Practices for University Museums and Collections. Once compiled, this can serve as a companion guide for accreditation as well as a resource for working within a parent institution. Please contact Barbara Rothermel, director of the Daura Gallery and assistant professor of museum studies at Lynchburg College, directly with documents, suggestions, or comments about practices with which you are most concerned.
Information about the AAMG Summer Leadership Seminar 2016 (rolling deadlines) is coming soon. Questions about the leadership seminar can be directed to David Robertson.
Association of Historians of Nineteenth-Century Art
During its 2015 Annual Conference, CAA presented Petra ten-Doesschate Chu, past president of the Association of Historians of Nineteenth-Century Art (AHNCA), board member at large, and managing editor of Nineteenth-Century Art Worldwide, with its 2015 Distinguished Teaching of Art History Award. Chu also received a certificate of appreciation from AHNCA’s membership for her organizational leadership and for the establishment of Nineteenth-Century Art Worldwide. Also at the CAA conference, AHNCA sponsored a two-part session entitled “What Is Realism?”and a shorter session on “Future Directions in Nineteenth-Century Art”; both were well attended. AHNCA’s major session for CAA’s 2016 conference will be “Between the Covers: The Question of Albums in the Nineteenth Century.”
During the AHNCA business meeting, Yvonne Weisberg extended her term as treasurer, but her successor must be in place by February 2016. Thus the organization now seeks nominations for the position; please send these via email to Peter Trippi, AHNCA president. Caterina Pierre also agreed to continue as newsletter editor.
AHNCA’s recent and upcoming activities include attending a Mellon lecture by Penelope Curtis, director of Tate Britain, at the Yale Center for British Art (April 23); a tour of the Pennsylvania Academy of the Fine Arts exhibition about artists’ gardens, with the curator Anna O. Marley (April 25); a tour of Sotheby’s nineteenth-century European art sale, with the expert Seth Armitage (May 1); and a visit to the Lowe Art Museum at the University of Miami with the museum’s director, Jill Deupi (May 12).
Historians of Islamic Art Association
The Historians of Islamic Art Association (HIAA) has announced the winners of its recent grant and essay competitions. Anna McSweeney, a senior teaching fellow in Islamic art and archaeology at SOAS, received a Grabar Fellowship to complete the research for her book, The Alhambra Cupola at the Museum für Islamische Kunst, Berlin.Natalia Di Pietrantonio, a doctoral candidate at Cornell University, was awarded a Grabar Travel Grant to deliver a paper at the 2015 Association of Art Historians conference at the University of East Anglia. Sugata Ray, assistant professor of art history at the University of California, Berkeley, received the 2014 Margaret B. Ševčenko Prize for his essay, “Shangri La: The Archive-Museum and the Spatial Topologies of Islamic Art History.” The Grabar Grants and Fellowships Program, which supports the scholarly activity and professional development of graduate students and postdoctoral scholars in Islamic art, was established in memory of Professor Oleg Grabar. The Ševčenko Prize, awarded annually for the best unpublished article written by a young scholar on any aspect of Islamic visual culture, honors the memory of Margaret Ševčenko, the longtime managing editor of Muqarnas: An Annual on the Visual Cultures of the Islamic World.
International Center of Medieval Art
The International Center of Medieval Art (ICMA) will present sessions and receptions at the fiftieth International Congress on Medieval Studies, to be held May 14–17, 2015, at Western Michigan University in Kalamazoo. Sessions presented by the organization include the “Cross in Medieval Art,” “Moving Women, Moving Objects,” and “Super Medieval! Visual Representations of ‘Medieval Superheroes.’” This last session is sponsored by the organization’s student committee. Two receptions are planned, one for all members and another for students.
International Sculpture Center
The International Sculpture Center will host the twenty-fifth International Sculpture Conference, “New Frontiers in Sculpture,” to be held November 4–7, 2015, in Phoenix, Arizona. The conference will feature panel discussions at Phoenix Art Museum and Arizona State University; special programming at Bollinger Atelier; optional trips to James Turrell’s Skyspaces and Cosanti, among others; gallery hops, the annual ISC members’ littleSCULPTURE show; and much more. Registration opens in June. For more information and to join the mailing list for updates, please visit www.sculpture.org/az2015.
Italian Art Society
The Italian Art Society (IAS) has announced information regarding the sixth annual IAS/Kress Lecture in Italy: Nino Zchomelidse of Johns Hopkins University will present her paper “Scena Sacra Scena–Tribuna Civica: Il ruolo dell’ambone nella Campania medievale” on May 20, 2015. The lecture will take place in the Dipartimento degli studi umanistici of the Università degli Studi di Napoli Federico II. The Emerging Scholars Committee of IAS has inaugurated a new mentoring program that will match established scholars with graduate students and junior scholars with similar interests.
On May 15, IAS will host three linked sessions on the topic “Civic Foundation Legends in Italian Art” at the 2015 International Congress on Medieval Studies, to be held at Western Michigan University in Kalamazoo. IAS will also sponsor a long session titled “Beyond Texts and Academies: Rethinking the Education of the Early Modern Italian Artist” at the next CAA Annual Conference, taking place February 3–6, 2016, in Washington, DC.
The deadline for IAS/KRESS travel grants for scholars undertaking transoceanic travel to the annual meeting of the Sixteenth Century Society and Conference in Vancouver is May 20, 2015. Please consider writing for the IASblog on any topic related to Italian art from prehistory to the present.
IAS has announced its new executive board: Sheryl E. Reiss, president; Anne Leader, executive vice president; Frances Gage, vice president for program coordination; Martha Dunkelman, treasurer and membership coordinator; and Sean Roberts, secretary.
Mid-America College Art Association
The School of Art in the College of Design, Art, Architecture, and Planning (DAAP) at the University of Cincinnati will host the biennial conference of the Mid-America College Art Association (MACAA), October 26–28, 2016. This follows the 2014 conference, “Mash Up,” which was hosted by the University of Texas at San Antonio. Jeffrey Adams, current MACAA president, and Kate Bonansinga, director of DAAP’s School of Art and site coordinator, are working with the MACAA board and DAAP faculty to develop ideas for sessions for the conference and a potential theme. Since the 1930s MACAA has provided a forum for artists/teachers of America to discuss and debate the issues of our profession, to share ideas and information of mutual benefit, and to affirm the friendships and collegiality that bind us together. The College of Design, Architecture, Art, and Planning at the University of Cincinnati has as its primary mission the creation of a better visual and design environment. Through excellence in educational programs, research, creative works, and service to the community, the faculty, the students, and administrative officers of DAAP are dedicated to achieve this mission.
National Art Education Association
The National Art Education Association (NAEA) invites you to participate in Summer Vision, joining a professional learning community and spending four days in America’s heartland or the nation’s capital exploring art, architecture, nature, and the museum as a work of art!
New Media Caucus
The New Media Caucus (NMC) has reported the results of its recent elections. The new board members are: Nadav Assor, assistant professor, Connecticut College; Rachel Clarke, associate professor, California State University, Sacramento; Renate Ferro, visiting assistant professor of art, Cornell University; Meredith Hoy, assistant professor, Arizona State University; Patrick Lichty, assistant professor, Columbia College Chicago; Jessye McDowell, assistant professor of art and exhibitions and lectures coordinator, Auburn University; Carlos Rosas, associate professor, Pennsylvania State University; Daniel Temkin, independent artist; and Stephanie Tripp, associate professor of communication, University of Tampa.
The newly elected officers are: Jim Jeffers, treasurer, assistant professor, Indian River State College; A. Bill Miller, chair, Communication Committee, assistant professor, University of Wisconsin, Whitewater; and Joyce Rudinsky, chair, Events Committee, associate professor, University of North Carolina.
These artists and scholars will be joining the following: Vagner Whitehead, president, associate professor, Oakland University; Mat Rappaport, secretary, associate professor, Columbia College Chicago; Pat Badani, editor-in-chief of Media-N Journal, independent artist and scholar; Victoria Bradbury, researcher at CRUMB, Sunderland, United Kingdom; Mina Cheon, interdisciplinary professor, Maryland Institute College of Art; Kevin Hamilton, associate professor, University of Illinois, Urbana-Champaign; Barbara Rauch, associate professor, Ontario College of Art and Design University, Toronto; Josua Selman, president, Artist Organized Art; and Jessica Westbrook, assistant professor, School of the Art Institute of Chicago.
Pacific Arts Association
The Pacific Arts Association-Europe conference will be held July 2–4, 2015, at the Museo de América in Madrid, Spain. The presentation of papers is open to any topic within the theme of “Recent Research in Pacific Arts.” Presentations can be either thirty minutes (twenty to twenty-five minutes of talk, five to ten minutes of discussion) or ten-minute reports on current exhibition projects or work in progress in museums or galleries. For more information, please contact adama@adamaamerica.com.
Pacific Arts Association-Pacific is calling for interest in its 2015 conference on “Trading Traditions: The Role of Art in the Pacific’s Expansive Exchange Networks,” to be held at the Fa’onelua Conference Centre in Nuku’alofa, Tonga, September 30–October 4, 2015. The conference theme examines the role art has played in the exchange of objects, peoples, technologies, and ideologies in the prehistoric, historic, or modern Pacific. It is not limited to “physical” exchanges but also addresses complex social, economic, and political arrangements and interactions among interconnected systems, structures, and peoples. For further information, please write to Karen Stevenson.
Public Art Dialogue
Public Art Dialogue (PAD) sponsored two sessions at CAA’s 2015 Annual Conference in New York. “Museums and Public Art: Coexistence or Collaboration,” chaired by Harriet Senie and Cher Krause Knight, featured papers by Kasia Ozga (“False Advertising? Public Art and Monographic Exhibitions”),Glenn Wallace (“‘Western Exposure’: The Contemporary Art Museum, Public Art, and the Global City”),Andrew Wasserman (“Sites of Counter Culture: Navigating a Future Bowery”), and Carole Anne Meehan(“Raising Expectations for the Public Sphere”). The artist Norie Sato chaired a second session, “Student Debt, Real Estate, and the Arts”; participating in the panel were Tom Finkelpearl, commissioner of New York City’s Department of Cultural Affairs and the artists Caroline Woolard and Paul Ramirez Jonas. Finkelpearl received the 2015 PAD award for achievement in the field of public art. This award recognizes an individual whose contributions have influenced public art practice.
Society for Photographic Education
Each spring, the Society for Photographic Education (SPE) hosts a forum for the presentation of artistic work and research to a community of peers. SPE has announced the call for proposals for “Constructed Realities,” the fifty-third national conference, to be held March 10–13, 2016, in Las Vegas, Nevada. SPE is accepting proposals for the 2016 conference with a submission deadline of June 1, 2015. Topics are not required to be theme-based and may include but are not limited to: image-making, history, contemporary theory and criticism, new technologies, effects of media and culture, educational issues, and funding. SPE membership is required to submit, and proposals are peer reviewed.
The presentation formats are:
- Graduate Student: short presentation of your own artistic work and a brief introduction to your graduate program
- Imagemaker: presentation of your own artistic work (photography, film, video, performance, installation, multidisciplinary approaches)
- Lecture: presentation of a historical topic, theory, or another artist’s work
- Panel: group led by a moderator to discuss a chosen topic
- Teaching: presentations, workshops, demos that address educational issues, including teaching resources and strategies; curricula to serve diverse artists and changing student populations; seeking promotion and tenure; avoiding burnout; and professional exchange
Please www.spenational.org for information on SPE membership and full proposal guidelines.
Society for the Study of Early Modern Women
The Society for the Study of Early Modern Women (SSEMW) has announced the following awards for 2014 at its annual meeting, held during the Sixteenth Century Society and Conference in New Orleans, Louisiana, last October:
- Best Book: Melinda S. Zook, Protestantism, Politics, and Women in Britain, 1660–1714 (Palgrave Macmillan, 2013)
- Honorable Mention: George McClure, Parlour Games and the Public Life of Women in Renaissance Italy (University of Toronto Press, 2013)
- Josephine Roberts Award for a Scholarly Edition: Barbara Torelli Benedetti, Partenia, a Pastoral Play, ed. and trans. Lisa Sampson and Barbara Burgess-Van Aken (Toronto, 2013)
- Best article: Diane Wolfthal, “Household Help: Early Modern Portraits of Female Servants,” Early Modern Women: An Interdisciplinary Journal 8 (2013): 5–52
- Best collaborative project: Noelia S. Cirnigliaro and John Beusterien, eds., Touching the Ground: Women’s Footwear in the Early Modern Hispanic World 14.2 (2013). Special issue of the Journal of Spanish Cultural Studies
- Honorable Mention: Anne J. Cruz and Maria Galli Stampino, eds., Early Modern Habsburg Women: Transnational Contexts, Cultural Conflicts, Dynastic Continuities (Burlington, VT: Ashgate, 2013)
- Best Translation: Pere Torrellas and Juan de Flores, Three Spanish Querelle Texts: “Grisel and Mirabella,” “The Slander against Women,” and “The Defense of Ladies against Slanderers,” ed. and trans. Emily Francomano (Toronto, 2013)
- Best Teaching Edition: Valerie Worth-Stylianou, ed. and trans., Pregnancy and Birth in Early Modern France: Treatises by Caring Physicians and Surgeons (1581–1625) (Toronto: Centre for Reformation and Renaissance Studies, 2013)
- Best Digital Scholarship, New Media, and Art Project: Caroline Bowden, principal investigator, 2012–13; James Kelly, project manager, 2012–13; along with Jan Broadway, David Horne, Katherine Keats-Rohan, and Michael Questier, coinvestigator and principal investigator, 2008–11), Who were the Nuns: A Prosopographical study of the English convents in exile 1600–1800
Society of Architectural Historians
The Society of Architectural Historians (SAH) is accepting abstracts for its sixty-ninth annual international conference in Pasadena and Los Angeles, California, April 6–10, 2016. Please submit abstracts by June 9, 2015, for one of the thirty-eight thematic sessions, the Graduate Student Lightning Talks, or the open sessions. The thematic sessions have been selected to cover topics across all time periods and architectural styles. SAH encourages submissions from architectural, landscape, and urban historians; museum curators; preservationists; independent scholars; architects; and members of SAH chapters and partner organizations.
SAH is accepting applications for the 2015 H. Allen Brooks Travelling Fellowship. The prestigious $50,000 fellowship allows a recent graduate or emerging scholar to study by travel for one year. The deadline to apply is October 1, 2015.
Registration is open for the 2015 SAH Field Seminar, “Architecture in the Rio de la Plata Basin: Between Tradition and Cosmopolitanism.” The seminar features a customized itinerary and includes visits to sites not open to the general public, supplemental lectures, and a significant educational component designed to enhance your experience of the region’s built environment.
Society of Historians of Eastern European, Eurasian and Russian Art and Architecture
The Society of Historians of Eastern European, Eurasian and Russian Art and Architecture (SHERA) seeks proposals of papers for its sponsored 2½-hour session, “Exploring Native Traditions in Eastern Europe, Russia, and Eurasia,” at CAA’s 2016 Annual Conference in Washington, DC. Within a broad historical and geographical framework of the region, which assimilated and reacted to a succession of cultures from Greek, Roman, and Byzantine to Mongol, Ottoman, and Soviet, the session seeks to balance the significance of international contacts and the experiences of artists who worked primarily in their native land. Artists expressed regional identities through distinctive themes and motifs in every art form; some made use of traditional techniques and designs, or represented provincial spaces, distinct ethnicities, and social customs. Papers may focus on individual artists or on broader institutional contexts that affected evolving concepts of regionalism and nationalism. The discussions might also address contemporary tensions surrounding regional and national identity. Interested contributors should see CAA’s 2016 Call for Participation and send proposals with other required materials to the session’s chair, Alison Hilton. The deadline for proposals is May 8, 2015.
Southeastern College Art Conference
The application for the 2015 Southeastern College Art Conference (SECAC) Artist’s Fellowship, which carries a $5,000 award, is August 1, 2015.
New directors to the Board of Directors were elected in February:
- Alabama: Wendy Deschene, Auburn University
- Kentucky: Boris Zakic, Georgetown College
- Louisiana: Jill Chancey, Nicholls State University
- North Carolina: Lawrence Jenkens, University of North Carolina at Greensboro
The new issue of the Southeastern College Art Conference Review (vol. 16, no. 4, 2014) is now available.
The next four conferences will take place:
- October 21–24, 2015: Pittsburgh, Pennsylvania
- October 19–22, 2016: Virginia Tech with Hollins University, in Roanoke, Virginia
- October 25–28, 2017: Columbus College of Art and Design, in Columbus, Ohio
- October 17–20, 2018: University of Alabama in Birmingham
Visual Resources Association
The Visual Resources Association (VRA) honored the recipients of the organization’s highest honors at a members and awards dinner on March 12, 2015, during the VRA’s thirty-third annual conference in Denver, Colorado. Maureen Burns of IMAGinED Consulting received the Distinguished Service Award for her contributions to visual resources and image management. Comments from Burns’s nominators and a description of her engagement with visual-resources advocacy, service to the profession, and long-term involvement with VRA and the VRA Foundation throughout her career can be found online. VRA presented the Nancy DeLaurier Award for distinguished achievement to the editors of Cataloging Cultural Objects (Chicago: American Library Association, 2006). The editors are: Murtha Baca, head of the Getty Digital Art History Access Program; Patricia Harpring, managing editor of the Getty Vocabulary Program; Eliza Lanzi, director of digital strategies and services at Smith College; Linda McRae, retired director of the Visual Resources Library at the University of South Florida; and Ann Baird Whiteside, librarian and assistant dean for information resources for the Graduate School of Design at Harvard University. The Nancy DeLaurier Award nomination and acceptance remarks by Patricia Harpring are available online. VRA publishes images and information about the awards presentation on its website.
Committee on Diversity Practices highlights for May/June 2015
posted by CAA — May 09, 2015
CDP Highlights
The CAA Committee on Diversity Practices highlights exhibitions, events, and activities that support the development of global perspectives on art and visual culture and deepen our appreciation of political and cultural heterogeneity as educational and professional values. Current highlights are listed below; browse past highlights through links at the bottom of this page.
May/June 2015
Kahlil Joseph: Double Conscience
Museum of Contemporary Art
Los Angeles, California
March 20, 2015–August 16, 2015
“Kahlil Joseph: Double Conscience is MOCA’s presentation of Kahlil Joseph’s m.A.A.d, a double screen projection that is a lush portrait of contemporary Los Angeles. The camera sinuously glides through predominantly African American neighborhoods, pausing to capture quotidian moments—driving in a car, a marching band, the barbershop—that are suffused with creativity, joy, and sadness. The split screen divides the viewer’s attention, and alludes to the history of auteur cinema—a form of filmmaking pioneered by French director Jean Luc Godard—which sacrificed linear narrative for experimentation with the formal and political possibilities of filmmaking. m.A.A.d extends this tradition of formal experimentation by crossing the wires of music videos, amateur film footage, and moments of magical realism. The two-part projection may also slyly evoke philosopher W.E.B. Dubois’s early twentieth century concept of “double consciousness,” a psychological description of Black life in America. The film’s verbally dense and thick booming soundtrack, provided by hip-hop artist Kendrick Lamar, adds yet another layer to this prismatic account of contemporary life in Los Angeles.” (http://www.moca.org/museum/exhibitiondetail.php?&id=503)
More information: http://www.moca.org
UNDER THE MEXICAN SKY: Gabriel Figueroa—Art and Film
Museo El Barrio
New York, New York
March 4, 2015–June 27, 2015
“From the early 1930s through the early 1980s, the Mexican cinematographer Gabriel Figueroa (1907–1997) helped forge an evocative and enduring image of Mexico. Among the most important cinematographers of the Golden Age of Mexican Cinema, Figueroa worked with leading directors from Mexico, the United States and Europe, traversing a wide range of genres while maintaining his distinctive and vivid visual style.
In the 1930s, Figueroa was part of a vibrant community of artists in many media, including Diego Rivera, Jose Clemente Orozco, Edward Weston and Manuel Alvarez Bravo, who sought to convey the country’s transformation following the trauma of the Mexican Revolution. Later, he adapted his approach to the very different sensibilities of directors Luis Buñuel and John Huston, among others. Figueroa spoke of creating una imágen mexicana, a Mexican image. His films are an essential part of the network of appropriations, exchanges and reinterpretations that formed Mexican visual identity and visual culture in the mid-twentieth century and beyond.
The exhibition features film clips, paintings by Diego Rivera, Jose Clemente Orozco, Manuel Rodriguez Lozano and José Chavez Morado, photographs, prints, posters and documents, many of which are drawn from Figueroa’s archive, the Televisa Foundation collection, the collections of the Museo de la Estampa and the Museo Nacional in Mexico. In addition, the exhibition includes work by other artists and filmmakers from the period such as Luis Buñuel, Sergei Eisenstein, Edward Weston, and Tina Modotti that draw from the vast inventory of distinctly Mexican imagery associated with Figueroa’s cinematography or were heavily influenced by his vision.” (http://www.elmuseo.org/under-the-mexican-sky/)
More information: http://www.elmuseo.org
Imagining New Worlds: Wilfredo Lam, Jose Parla, Fahamu Pecou
High Museum of Art
Atlanta, Georgia
February 14, 2015–May 24, 2015
“Imagining New Worlds traces the lengthy career of Wifredo Lam (1902-1982), perhaps best remembered as a member of the Surrealist group in the 1940s. Born in Cuba to a Chinese father and mother of African and Spanish descent, Lam gave expression to his multiracial and cultural ancestry through a signature hybrid style of painting that blended Surrealism, magical realism, modernism, and postmodernism. The exhibition begins with the academic work made while studying painting in Madrid, and includes the fantastical mid-century canvases that incorporate figures from the syncretic religion Santéria. His work is informed by a cross-cultural fusion of influences such as Afro-Cuban symbolism and Negritude, a movement that rejected the French colonial framing of African identity.” (http://www.high.org/Art/Exhibitions/Imagining-New-Worlds.aspx)
More information: http://www.high.org
Kehinde Wiley: A New Republic
Brooklyn Museum of Art
Brooklyn, New York
February 20, 2015–May 24, 2015
“The works presented in Kehinde Wiley: A New Republicraise questions about race, gender, and the politics of representation by portraying contemporary African American men and women using the conventions of traditional European portraiture. The exhibition includes an overview of the artist’s prolific fourteen-year career and features sixty paintings and sculptures.
Wiley’s signature portraits of everyday men and women riff on specific paintings by Old Masters, replacing the European aristocrats depicted in those paintings with contemporary black subjects, drawing attention to the absence of African Americans from historical and cultural narratives. The subjects in Wiley’s paintings often wear sneakers, hoodies, and baseball caps, gear associated with hip-hop culture, and are set against contrasting ornate decorative backgrounds that evoke earlier eras and a range of cultures. Through the process of “street casting,” Wiley invites individuals, often strangers he encounters on the street, to sit for portraits. In this collaborative process, the model chooses a reproduction of a painting from a book and reenacts the pose of the painting’s figure. By inviting the subjects to select a work of art, Wiley gives them a measure of control over the way they’re portrayed. The exhibition includes a selection of Wiley’s World Stagepaintings, begun in 2006, in which he takes his street casting process to other countries, widening the scope of his collaboration. Kehinde Wiley: A New Republic is organized by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, Brooklyn Museum. A fully illustrated catalogue published by the Brooklyn Museum and DelMonico Books • Prestel accompanies the exhibition.” (http://www.brooklynmuseum.org/exhibitions/kehinde_wiley_new_republic/)
More information: http://www.brooklynmuseum.org/home.php
Diego Rivera and Frida Kahlo in Detroit
Detroit Institute of Arts
Detroit, Michigan
March 15, 2015–July 12, 2015
“Diego Rivera and Frida Kahlo were an explosive couple. He carried a pistol. She carried a flask. He romanticized Detroit. She rejected it. But what they shared was a belief in communism, a thirst for tequila and a passion for each other. Discover how they left their mark on Detroit. And how Detroit left its mark on their art. Exclusively on view at the Detroit Institute of Arts, Diego Rivera and Frida Kahlo in Detroit brings together nearly 70 works of art that depict the evolution of these two extraordinary artists’ careers, including eight of Rivera’s epic preparatory drawings for the Detroit Industry murals and 23 pieces by Kahlo, whose work has never before been shown at the DIA.” (http://www.dia.org/calendar/event.aspx?id=4608&iid=)
More information: http://www.dia.org
Art Crime and Cultural Heritage: Fakes, Forgeries, and Looted and Stolen Art
posted by CAA — May 05, 2015
Solo Exhibitions by Artist Members
posted by CAA — April 22, 2015
See when and where CAA members are exhibiting their art, and view images of their work.
Solo Exhibitions by Artist Members is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
April 2015
Mid-Atlantic
Matthew Conboy. Silver Eye Center for Photography, Pittsburgh, Pennsylvania, January 16–March 21, 2015. Photography.
Kristine DeNinno. Washington Printmakers Gallery, Washington, DC, March 1–29, 2015. Monotypes – Cultural Discoveries through Color and Repetition. Monotypes.
Christopher Meerdo. Silver Eye Center for Photography, Pittsburgh, Pennsylvania, January 16–March 21, 2015. Objects in mirror are closer than they appear. Photography.
Kameelah Rasheed. Vox Populi, Philadelphia, Pennsylvania, February 6–March 1, 2015. No Instructions for Assembly, IV. Installation of self-authored texts, original photographs, and found texts, objects, and photographs.
Midwest
Les Barta. Performing Arts Center Gallery, Illinois Central College, Peoria, Illinois, March 18–April 15, 2015. Flowers and Phenomena. Photoconstructions.
Northeast
Lorna Ritz. Oxbow Gallery, Northampton, Massachusetts, April 2–26, 2015. Painting and Drawings: Lorna Ritz. Painting and drawing.
West
Les Barta. Cace Gallery, Morgan Community College, Morgan, Colorado, April 22–June 5, 2015. Flowers and Phenomena. Photoconstructions.
Ken Gonzales-Day. Luis De Jesus Los Angeles, Los Angeles, California, April 4–May 9, 2015. Run Up. Photography and film.
Hazel Antaramian Hofman. Fig Tree Gallery, Fresno, California, March 5–29, 2015. /‘ôltər/ pieces II. Painting.
People in the News
posted by CAA — April 17, 2015
People in the News lists new hires, positions, and promotions in three sections: Academe, Museums and Galleries, and Organizations and Publications.
The section 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.
April 2015
Academe
Raymond Allen, a painter, professor, and longtime vice president of academic affairs and provost at Maryland Institute College of Art in Baltimore, will retire in June 2015.
Leslie Bellavance, currently dean, director of graduate programs, and professor in the School of Art and Design at Alfred University’s New York State College of Ceramics, has been named president of Kendall College of Art and Design at Ferris State University in Big Rapids, Michigan. Her appointment begins on July 1, 2015.
Susan Best has become convenor of fine art and art theory in the Queensland College of Art at Griffith University in South Brisbane, Australia.
David Bogen, currently vice president academic and provost at Emily Carr University of Art and Design in Vancouver, British Columbia, has been appointed provost and vice president of academic affairs at Maryland Institute College of Art in Baltimore, effective August 2015.
Tanya Sheehan, associate professor of art at Colby College in Waterville, Maine, has earned tenure at her school.
Museums and Galleries
Margaret C. Conrads, formerly deputy director of art and research at the Amon Carter Museum of American Art in Fort Worth, Texas, has been appointed director of curatorial affairs at the Crystal Bridges Museum of American Art in Bentonville, Arkansas.
Anne Hawley, director of the Isabella Stewart Gardner Museum in Boston, Massachussetts, has announced her retirement after twenty-five years of service. She will step down at the end of 2015.
Katherine Jentleson, a doctoral candidate in art history at Duke University in Durham, North Carolina, has been appointed the inaugural Merrie and Dan Boone Curator of Folk and Self-Taught Art at the High Museum of Art in Atlanta, Georgia.
David Joselit, distinguished professor of art history at the Graduate Center, City University of New York, has joined the board of directors of Artists Space in Manhattan.
Narayan Khandekar, senior conservation scientist in the Harvard Art Museums’ Straus Center for Conservation and Technical Studies in Cambridge, Massachusetts, has become the center’s director.
Thomas Kren, associate director for collections at the J. Paul Getty Museum in Los Angeles, California, will retire from his position in October 2015.
Kate Kunau, a doctoral candidate in the School of Art and Art History at the University of Iowa in Iowa City, has become associate curator at the Cedar Rapids Museum of Art in Cedar Rapids, Iowa.
Jeongho Park, formerly Anne L. Poulet Curatorial Fellow at the Frick Collection in New York, has become curatorial research associate for the Department of Prints and Drawings at the Blanton Museum of Art, part of the University of Texas at Austin.
Lowery Stokes Sims, chief curator of the Museum of Arts and Design in New York, has retired from the museum.
David Stark, previously director of administration for museum education at the Art Institute of Chicago in Illinois, has been appointed chief curator of the Columbus Museum of Art in Ohio.
Michael Taylor has left his position as director of Dartmouth University’s Hood Museum of Art in Hanover, New Hampshire.
Daniel H. Weiss, an art historian and president of Haverford College in Haverford, Pennsylvania, has been named president of the board of trustees at the Metropolitan Museum of Art in New York.
Chris Yates, formerly director of CORE Studio and associate professor of art at the Columbus College of Art and Design in Ohio, has become assistant director of Gund Gallery at Kenyon College in Gambier, Ohio.
Organizations and Publications
Michael Conforti, director of the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts, has announced his retirement. He will leave the institute in summer 2015.
Joni Doherty, formerly director of the New England Center for Civic Life at Franklin Pierce University in Rindge, New Hampshire, has accepted a position as program officer for the Kettering Foundation in Dayton, Ohio.
Institutional News
posted by CAA — April 17, 2015
Read about the latest news from institutional members.
Institutional News 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.
April 2015
The Baltimore Museum of Art in Maryland has received a $300,000 grant from the Henry Luce Fund in American Art to help support the exhibition Matisse/Diebenkorn and its catalogue.
The Bowdoin College Museum of Art in Brunswick, Maine, has accepted a $150,000 grant from the Henry Luce Fund in American Art in support of the exhibition This Is a Portrait If I Say So: Reimagining Representation in American Art and its catalogue.
The Sterling and Francine Clark Art Institute in Williamstown, Massachusetts, has accepted a $15 million gift from Felda and Dena Hardymon to support campus expansion and programs. In recognition of the donation, the institute’s board decided to name the director’s position after the couple.
The Huntington Library, Art Collections, and Botanical Gardens in San Marino, California, has received a $200,000 grant from the Henry Luce Fund in American Art. The institution will use the funds to reinstall and publish on its collection of American art.
The Museum of Modern Art in New York has earmarked a $350,000 grant from the Henry Luce Fund in American Art for the exhibition Donald Judd and its accompanying catalogue.
The New York Studio School in Manhattan has accepted a $30,000 grant from the Henry Luce Fund in American Art to help digitize part of its lecture program archive.
The Smithsonian American Art Museum in Washington, DC, has won a two-year $275,000 grant from the Henry Luce Fund in American Art to reinstall and reinterpret the Renwick Gallery’s American craft and decorative art collection.
The Walker Art Center in Minneapolis, Minneapolis has received a $200,000 grant from the Henry Luce Fund in American Art to help produce the exhibition International Pop and its catalogue.
The Yale University Art Gallery in New Haven, Connecticut, has won a three-year grant of $1.5 million from the Henry Luce Fund in American Art. The museum will use the funds for the open storage of its American art collection and archives in the new West Campus Collection Studies Center.
Grants, Awards, and Honors
posted by CAA — April 15, 2015
CAA recognizes its members for their professional achievements, be it a grant, fellowship, residency, book prize, honorary degree, or related award.
Grants, Awards, and Honors 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.
April 2015
Molly Emma Aitken-Zaidi, an independent scholar, has accepted a 2014 Summer Stipend from the National Endowment for the Humanities. Her project is entitled “The Connoisseurship of Longing and India’s Mughal Emperors during the 16th and 17th Centuries.”
Patricia Blessing, international and scholarship program officer for the Stanford Humanities Center at Stanford University in California, has won the 2014 H. Allen Brooks Travelling Fellowship from the Society of Architectural Historians.
Kirsten Pai Buick, associate professor of art history at the University of New Mexico in Albuquerque, has been named the 2015 recipient of the David C. Driskell Prize by the High Museum of Art.
Jennifer Cohen, a doctoral candidate in the Department of Art History at the University of Chicago in Illinois, has been selected to be a visiting scholar at the Smithsonian Institution’s Archives of American Art by the Dedalus Foundation to conduct new research on Robert Motherwell and his contemporaries in honor of Motherwell’s centenary.
Shlomit Dror, a curator based in Jersey City, New Jersey, has completed a curatorial residency with the Brooklyn-based organization Residency Unlimited. Her residency term was February to April 2015.
Peter Fane-Saunders has received a 2014 SAH/Mellon Author Award from the Society for Architectural Historians for Pliny the Elder and the Emergence of Renaissance Architecture, his forthcoming book from Cambridge University Press.
Gregory Gilbert from the Department of Art and Art History at Knox College in Galesburg, Illinois, has been selected as a visiting scholar at the Smithsonian Institution’s Archives of American Art by the Dedalus Foundation to conduct new research on Robert Motherwell and his contemporaries in honor of Motherwell’s centenary.
Alice Ming Wai Jim, associate professor and graduate-program director in the Department of Art History at Concordia University in Montreal, Quebec, has been named the recipient of the Artexte Prize for Research in Contemporary Art.
Amy Lyford, professor of art history and associate dean of arts and humanities at Occidental College in Los Angeles, California, has won the Smithsonian American Art Museum’s 2015 Charles C. Eldredge Prize for her book Isamu Noguchi’s Modernism: Negotiating Race, Labor, and Nation, 1930–1950.
Lucy M. Maulsby has accepted a 2014 SAH/Mellon Author Award from the Society for Architectural Historians for her book Fascism, Architecture, and the Claiming of Modern Milan, 1922–1943, published the University of Toronto Press in 2014.
Kent Minturn from the Department of Art History and Archaeology at Columbia University in New York has been named a visiting scholar at the Archives of American Art by the Dedalus Foundation to conduct new research on Robert Motherwell and his contemporaries in honor of Motherwell’s centenary.
Adele Edelen Nelson of Temple University in Philadelphia, Pennsylvania, has received a 2014 Summer Stipend from the National Endowment for the Humanities. Her project is entitled “The Emergence of Abstract Art in Postwar Brazil.”
Tanya Sheehan, associate professor in the Department of Art at Colby College in Waterville, Maine, has been awarded the 2014 Patricia and Phillip Frost Essay Award for her article, “Confronting Taboo: Photography and the Art of Jacob Lawrence,” which appeared in the fall 2014 issue of the journal American Art.
Christina Weyl, a doctoral candidate at Rutgers University in New Brunswick, New Jersey, has received the 2014 Archives of American Art Graduate Research Essay Prize, funded by the Dedalus Foundation, for her online essay, “Networks of Abstraction: Postwar Printmaking and Women Artists of Atelier 17.”
Exhibitions Curated by CAA Members
posted by CAA — April 15, 2015
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.
April 2015
Mike Bullock and Linda Aubry Bullock. Lagan. Fourth Wall Space, Vox Populi, Philadelphia, Pennsylvania, April 3–26, 2015.
N. Elizabeth Schlatter and Kenta Murakami. The Life in the Land: Art by Anna Líndal and Erling Sjovold. University of Richmond Museums, Richmond, Virginia, February 19–April 26, 2015.
Jennifer Tyburczy. Irreverent: A Celebration of Censorship. Leslie-Lohman Museum of Gay and Lesbian Art, New York, February 13–May 3, 2015.
Charlotte Vignon. Coypel’s Don Quixote Tapestries: Illustrating a Spanish Novel in Eighteenth-Century France. Frick Collection, New York, February 25–May 17, 2015.
Books Published by CAA Members
posted by CAA — April 15, 2015
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.
April 2015
David Bethune. Wynwood: Street Art of Miami (Miami: Bethune, 2015).
Maria F. P. Saffiotti Dale, ed. European Medals in the Chazen Museum of Art: Highlights from the Vernon Hall Collection and Later Acquisitions (Madison, WI: Chazen Museum of Art, in association with the American Numismatic Society, 2014).
Dario Gamboni. Paul Gauguin: The Mysterious Centre of Thought (London: Reaktion, 2014).
Patricia Eichenbaum Karetzky. Chinese Religious Art (Lanham, MD: Lexington Books, 2014).
Sarah Krawcheck. Extreme Dessert Makeovers: Gluten Free and Beyond (Createspace.com, 2014).
Victor Margolin. World History of Design, 2 vols. (London: Bloomsbury, 2015).
Maureen Meister. Arts and Crafts Architecture: History and Heritage in New England (Hanover, NH: University Press of New England, 2014).
Kristel Smentek. Mariette and the Science of the Connoisseur in Eighteenth-Century Europe (Burlington VT: Ashgate, 2014).
Committee on Women in the Arts Picks for April 2015
posted by CAA — April 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.
April 2015
Nina Bunjavec: Out of the Fatherland
Art Gallery of Ontario
317 Dundas Street West, Toronto, Ontario, Canada M5T 1G4
December 13, 2014–summer 2015
The Canadian graphic novelist Nina Bunjevac, in her work Fatherland, explores the influence of extremism and ideologies on her own family and personal history. Now on view at the Art Gallery of Ontario, Out of the Fatherland is a selection of drawings from Bunjevac’s tale of the patriarch of her family—a member of the radical nationalist group Freedom for Serbian Fatherland—as told through the memories of her mother, sister, and grandmother, among other relatives. In the painstakingly detailed panels Bunjevac reflects on her mother’s flight from her husband back to Yugoslavia with her two daughters in 1975, the history and political climate of Yugoslavia, and the death of her father while assembling a bomb in a Toronto garage two years later. Bunjevac was three at the time of her father’s death.
The graphic novel, as Bunjevac explains, is two parts in order to reflect the “duality presented in the book: maternal – paternal, nationalist – communist, old country – new country.” At times drawing directly from childhood photographs, the artist said it resembled detective work, where she would scan images, and through enlarging them discover hidden history. During an NPR interview Bunjevac revealed how an overexposed photograph of her grandmother, who was in an abusive relationship, once darkened, exposed a black eye, and subsequently the photographers desire to mask it. Bunjevac takes these frozen records of violence and forced smiles, and with her pen reveals sociopolitical issues at play on both a personal and national stage while maintaining her role as the neutral narrator. Fatherland follows Bunjevac’s debut graphic novel, Heartless (2012), which features Zorka, a depressed, alcoholic, chain-smoking antiheroine.
Lori Vrba: The Moth Wing Diaries
Daylight Project Space
121 West Margaret Lane, Hillsborough, NC 27278
March 27–May 22, 2015
The photographer Lori Vrba describes her work as “reeking Southern woman.” In her new exhibition at Daylight Project Space, and in her forthcoming book The Moth Wing Diaries (published by Daylight Books), Vrba edited photographs from four projects—Drunken Poet’s Dream, Piano Farm, Safekeeping, and My Grace Is Sufficient—into a monograph that addresses “themes of memory, providence, revival and dreams … [exploring a] sense of conflict and ultimate peace with the Southern terrain.”
Vrba’s work oscillates between dreamlike scenes and reflections of innocence and confrontational moments. In the photograph Orchid from My Grace is Sufficient, a woman stands naked, the frame dipping only so far as to expose a partial breast. She clenches an orchid in her hand. The model’s face and identity is obscured by what appears to be a sheer silken fabric, keeping the viewer from knowing her.
Vrba’s work has been compared to that of Sally Mann, a comparison, Vrba says, that almost made her cry. She admires and is influenced by Mann, but while both often photograph their children, the difference between the two artists, Vrba explains, is that her own work is entirely autobiographical. The landscapes she choses, either the Southern rolling hills or the body landscapes of her human models, is a means to explore internal tensions via her visual sensitivities and ultimately her femininity, intimacy, and vulnerability. Working in a traditional darkroom, Vrba has a love of printmaking that is reflected in the rich warmth and sultriness of her toned images. Unapologetic about her style, Vrba writes, “my work is inherently feminine … and has a traditionally beautiful aesthetic without apology.”
A larger selection of photographs from The Moth Wing Diaries will be on view at the Catherine Courturier Gallery in Houston, Texas, in June.
Cat Del Buono: Voices
Museum of Contemporary Art, North Miami
Joan Lehman Building, 770 NE 125th Street, North Miami, FL 33161
April 14–19, 2015 (panel discussion on April 18 at 4:00 PM)
The Miami artist Cat Del Buono is bringing her video installation Voices to the Museum of Contemporary Art in North Miami for a short exhibition and panel discussion. Voices, created with a New Works Grant from Baang & Burne Contemporary, is a multichannel video installation focusing on domestic violence. Each small video monitor exposes only the lips of an anonymous domestic violence survivor as she recounts her personal experience of abuse for the unknown audience. Upon entry into the installation each voice is heard simultaneously, creating a “symphony of unrecognizable words.” Not until the viewer stands intimately close to a single monitor does the story of that woman become clear.
Filmed in Miami, New York, Connecticut, Los Angeles, Washington, DC, and Chicago, Voices brings stories from women of all ages and ethnicities to the viewer. “As a society, we must not allow the epidemic of domestic violence and those who are affected by it to remain an invisible and inaudible crowd of statistics,” Del Buono said in an exhibition statement.
Del Buono has a history of work aimed at raising awareness on women’s issues, as well as body image. In her work Beauty Box, during Art Basel Miami Beach in 2014, Del Buono and the Refemme team invited women and men into their “medical” tent to receive individualize beauty consultations. Instead of prescribing ways to improve, participants were complimented as part of the project’s “social interruption.”
Voices will cap its short stay at MoCA North Miami with a panel discussion moderated by Bonnie Berman of WLRNand featuring a victim’s advocate from the Lodge Miami, an abuse survivor, and Adrienne Von Lates from MoCA.
Anicka Yi: You Can Call Me F
The Kitchen
512 West 19th Street, New York, NY 10011
March 5–April 11, 2015
The Kitchen’s gallery is transformed into a forensic laboratory in which Anicka Yi’s You Can Call Me F proposes a parallel between society’s increasing paranoia—private and public—regarding hygiene and contagion with the longstanding patriarchal fear of feminism and strength of female networks.
During 2014–15, Yi (b. Seoul, 1971) has been developing new projects as a visiting artist at MIT Center for Art, Science, and Technology (CAST). For You Can Call Me F, the New York–based artist gathered biological information from one hundred women in order to cultivate the idea of the female figure as a viral pathogen that suffers external attempts to be both contained and neutralized.
Following her trilogy Divorce, Denial,and Death, in which Yi privileged scent, memory, and other aspects of the “avisual” over physical components, You Can Call Me F is based in the visual language of quarantine tents, a context that allows a translucent view, at the same time that intends to protect the fragile ecosystems within. Yi’s feminist approach focuses in the impact of the politics and subjectivities of smell on our empathic understanding of each other.
Curated by Lumi Tan, the project was possible by collaborative efforts from a hundred contributing women—some listed at the exhibition, some anonymous donors—as well as scientist and researchers, including: Tal Danino, MIT postdoc in synthetic biology; the biologist Patrick Hickey; and the provision of scent analysis and formulation by Air Variable, a scent fabrication company founded in 2014 by Sean Raspet that focuses exclusively on olfactory and chemistry-related art and design projects.
Camille Henrot: The Pale Fox
Westfälischer Kunstverein
Rothenburg 30, 48143 Münster, Germany
February 21–May 10, 2015
Westfälischer Kunstverein presents The Pale Fox, the first large-scale solo exhibition in Germany by the New York–based French artist Camille Henrot (b. 1978). This traveling exhibition (Münster, London, Copenhagen, and Paris) has been coproduced by four European institutions and was ranked by the Guardian as among the ten best art shows of the year.
The Pale Fox is borrowed character from an anthropological study, published by Griaule and Dieterlen in 1965, that reflects on the incorporation of several different cultures, as well as astronomical, mathematical, and philosophical systems of thought and beliefs in the West African Dogon tribe’s mythology. In this system, the character of the Pale Fox represents disorder and chaos not only as a transgression but also as a necessary condition for creativity. Based in a cycle from which accumulation and excess become productive again, and her interest in disorder as a fertile foundational principle for creative practice and formulation of knowledge, Henrot understands the fox as a potential model for our primitive selves, as well as a symptom of our digital age in which humans driven by curiosity and impatience.
Populating a highly constructed and meditative environment with images and objects, Henrot conceived this installation as a sort of a domestic atmosphere in which she orders and arranges more than four hundred photographs, bronze sculptures, books, watercolors, and drawings that were bought on eBay, borrowed from museums, or found or produced by Henrot. In the artist’s words, there is “an excess of principles” in The Pale Fox, a pathological and almost erotic “cataloguing psychosis” that allows the potential for disorder to return. Through this compulsive superimposition, the artist intends to make sense of our shared desire to understand the world intimately through the objects that surround us. A video produced by a seemingly hidden camera at the exhibition opening evidences audience engagement toward personal reconstructions of the multilayered environment of narratives.
Channa Horwitz: Counting in Eight, Moving by Color
KW Institute for Contemporary Art
Auguststrasse 69, 10117 Berlin, Germany
March 15–May 25, 2015
The KW Institute for Contemporary Art in Berlin presents Counting in Eight, Moving by Color, the first comprehensive solo exhibition of Channa Horwitz (1932–2013). Many of the works on view, including a selection of construction drawings and documentary materials have never been shown before. The exhibition features representative works from all phases of Horwitz’s career, providing an introduction to her oeuvre and insight into key series of her creative process, such as the Language Series, Sonakinatography, Rhythms,and Structures. Some of her central works were reconstructed based on the plans that the artist made herself for her own future.
Departing from a system of notation based on the number eight, Horwitz developed a visual language in the late 1960s that achieved freedom based in the restriction to a few simple rules. Searching for a simple yet universal language, she created variations of complex systems resembling musical scores that allow movements to be visualized by means of color schemes and graphic scales. Since then, each of her works has been based on the numbers one through eight, while each number is assigned an specific color code, in this way designing structures that translate spatial-temporal relations into drawings, paintings, and multimedia sculptures.
The comprehensive exhibition at KW retraces the development that led Horwitz from figurative painting to conceptual abstraction, linking her creative practice to her contemporary minimal and conceptual artists. The display includes a large number of the compositions from “Sonakinatography” (her new term combining the Greek words for “sound,” “movement,” and “writing/recording”), which are perhaps the artist’s most well-known works to date. Despite her creative commitment, Horwitz lived and worked in complete seclusion from the midsixties until the 2000s, and her work was rarely exhibited. She seemed to have just begun her artistic career when she passed away at the age of 81. Sadly Horwitz did not live to see the overwhelming international recognition that her oeuvre gained at the last Venice Biennale.