CAA News Today
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.
Today is Arts Advocacy Day!
posted by CAA — March 24, 2015
Americans for the Arts sent the following email on March 24, 2015
Today is Arts Advocacy Day!
Today, Americans for the Arts and its affiliate the Arts Action Fund celebrate National Arts Advocacy Day, part of the National Arts Action Summit, with thousands of arts advocates across the country and hundreds of partnering state, local, and national arts and arts education organizations.
If you can’t join us in Washington, DC, today, then join us by letting your member of Congress know that you support the arts!
Today, more than 550 dedicated arts supporters from 48 states will come together in Washington, DC, for the 28th annual Arts Advocacy Day, the only national event that brings together a broad cross section of America’s cultural and civic organizations.
- Participating in events are actor and Turnaround Artist Doc Shaw; actress, writer, dancer, and Americans for the Arts Artists Committee Member Victoria Rowell, American actress and playwright Holland Taylor, musicians Marc Roberge and Richard On from the American rock band O.A.R, and singer and performer Grace Weber
- Last night, multi–Grammy Award winning artist COMMON introduced the 28th Annual Americans for the Arts’ Nancy Hanks Lecturer on Arts and Public Policy and groundbreaking television producer, author, and social activist, Norman Lear, at the John F. Kennedy Center for the Performing Arts
These hundreds of arts advocates represent a united effort to tell Capitol Hill how important the arts are to our communities, how much arts education means to our future, and how the arts improve our daily lives. With 87 national cosponsoring organizations, Arts Advocacy Day helps shape this united arts message to Congress.
Ways You Can Take Part
Ask your members of Congress to support the arts. Visit our E-Advocacy Center and you’ll be able to send a message in less than two minutes directly to your representative and senators telling them why the arts are important to you and your community. Take two minutes and send your message to Congress today!
Join the discussion on the Arts Advocacy Day Facebook page.
On Twitter? Tweet your proarts support, follow @Americans4Arts, and track all the action in Washington, DC, at #AAD15 and #ArtsVote!
Help us continue this important work by becoming an official member of the Arts Action Fund. If you are not already a member, play your part by joining the Arts Action Fund today—it’s free and easy to join.
Thank you for your support of the arts.
CAA Seeks an Associate Director/Director of Conferences
posted by CAA — March 17, 2015
Associate Director/Director of Conferences
College Art Association
Under the supervision of the Executive Director, is responsible for providing leadership for CAA’s conference programs, identifying content, content providers, and dissemination mechanisms that meet the needs of those working in academic visual arts fields. This position enables CAA to respond to a changing environment by planning and implementing conferences as well as special programs and activities that support the CAA Strategic Plan.
Responsibilities include all planning and administrative activities related to organizing CAA conferences and meetings, such as the selection and contracting of the conference hotels and preparing and publishing all conference information. Acts as ex officio liaison to the annual conference committee, which vets all session proposals, and schedules its meetings. In consultation with leaders in the visual arts fields, identifies workshop leaders, career services mentors, roundtable leaders, distinguished artists to be interviewed, and distinguished art historians to be honored. Oversees the organization of CAA’s Career Services and interview hall. Works in cooperation with a local community to organize exhibitions and receptions. Prepares the schedule of special events, including convocation, openings, and the annual business meeting. Works cooperatively with the staff and individuals from the hosting community and local universities and museums to prepare and coordinate all conference programs. Administers conference travel grant programs. Organizes other conferences and regional meetings as needed.
Prepares annual budget and forecasts and adheres to budgets.
Supervises Programs Department staff: Assistant Director for Annual Conference, Manager of Programs and Archivist, CAA-Getty International Program Manager and Programs Assistant (part-time).
Key Responsibilities
- Schedules conference sites, contracts the hotels, and works with onsite hotel staff during the conferences
- Selects and contracts all conference service providers, including AV provider and temp agencies
- Schedules all sessions, meetings, and special events
- Oversees the organization and content of the conference website
- Organizes the convocation program in cooperation with the president and executive director
- Oversees the organization of the book and trade fair exhibitors
- Works cooperatively with the Board of Directors, staff, and standing committees to organize and schedule board sessions, professional development programs, mentoring, special events, tours, and receptions
- Oversees the organization of the CAA Career Services, including the Interview Hall
- Proposes the jurors for the awards of distinction, oversees the jury process, and organizes the awards presentation ceremony at Convocation
- Works cooperatively with the IT staff on the session submission systems, database design, registration processing, financial management
Education and Experience
- MA in art history or MFA in studio art; PhD in art history preferred with some studio coursework;
- At least 3 years experience in academic administration such as department head or collaborative scholarly or creative projects
- Experience in organizing national or international scholarly conferences
- Academic committee experience
- Familiarity with academic curriculum and tenure requirements, current trends in art history, critical theory, contemporary art, studio art and design and with leaders in the academic field of the visual arts
- Familiarity with scholarly communications, streaming, and other types of real-time communications
- Preference will be given to those with technical skills in areas that will enhance both the organizing of the meetings and with their success
Salary dependent on experience
EEOC Employer
Start date: September 1, 2015
Full-time with benefits
Please send letter of interest, CV and references to: nyoffice@collegeart.org
3-9-15
CAA Seeks an Associate Director/Director of External Communications
posted by CAA — March 17, 2015
Associate Director/Director of External Communications
College Art Association
50 Broadway, Floor 21
New York, NY 10004
Under the supervision of the executive director, the associate director is responsible for developing scholarly communication strategies for CAA, and communicating with its members and to the international community of academic and museum visual arts faculty, students, and curators. The associate director will work to help CAA address the changing needs and demographics of the academic visual-arts field and to communicate the value of the Association to individuals in academia, in museums, and those who work independently. This position: 1) oversees strategic communications for social media and social communications regarding the annual conference, newsletter, website, directories of graduate programs, affiliated societies, fellowships and professional development programs; 2) stays current with issues related to communications in the visual arts in academia and art museums and recommends actions to be taken by the Association on behalf of the field; 3) represents CAA at meetings, conferences and events that promotes awareness of the Association.
Responsibilities
- In cooperation with the executive director and the senior staff carries out market research in the visual arts field to develop an annual strategy for scholarly communications of CAA to the visual arts field and beyond;
- In cooperation with the executive director and senior staff determines the strategies for all communications for the association including technologies that extend the conference, websites, programs, guidelines and activities of the association;
- Oversees the publicity strategies in concert with the executive director, senior staff and Taylor & Francis for all publications including journals, newsletter, websites, directories of graduate programs, and electronic communications;
- Develops a communications network with the CAA affiliated societies to promote cooperative programming and support;
- Oversees all social communications and works with CAA staff to establish strategies for maximum participation among members and related associations and stakeholders;
- Oversees Online Career Center;
- Stays current with the visual arts advocacy issues;
- Prepares yearly budget forecasts and manages the communications budget;
- Supervises the full-time newsletter editor and a full-time staff assistant.
Education and Experience
- Terminal degree or the equivalent in communications, new media, studio art, or art history;
- At least five years experience in academic scholarly communications or educational association communications;
- Expertise in scholarly communications, development and design of websites, streaming, webinars, electronic publications, databases, and social communications;
- Experience managing a major website redesign and/or implementing new technology for programming or scholarly communication systems
- Expertise in market research and analysis, and the use of statistical databases on the visual arts field;
- Current with trends and critical issues in academic visual arts, art museums and professional visual art associations, and learned societies.
Salary dependent on experience
EEOC Employer
Start date: June 1, 2015
Full-time with benefits
Please send letter of interest, CV and references to: nyoffice@collegeart.org
3-3-15
Committee on Women in the Arts Picks for March 2015
posted by CAA — March 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.
March 2015
Poetry and Exile
British Museum
Gallery 34, Great Russell Street, London
WC1B 3DG United Kingdom
October 1, 2014–March 1, 2015
Housed within the Islamic World Galleries, Poetry and Exile displays a series of works by artists of the Middle East and North Africa recently acquired by the British Museum. This small but powerful exhibition explores the effects of exile through the eyes of four women artists:Ipek Duben, Mireille Kassar, Mona Saudi, and Canan Tolon.
Tolon’s series ofink and graphite drawings, titled Futur Imparfait, is a memoir fromher exile from Istanbul to France, where she spent a decade in hospital as a result of contracting polio as a child. In the series Tolon portrays an exile not only from home, but also from her own body. Duben’s book Refugee belies the helplessness and terror suffered by people forced to flee their homeland with images on delicate gauze pages and using childlike embroidery that depicts the crossing of borders. The Istanbul-born Duben has been making books and installations that focus on identity, domestic violence, and the worldwide forced migration of the twentieth century.
The Jordanian artist Saudi combines the evocative verses of the Palestinian poet Mahmoud Darwish with drawings, while the Lebanese-born Kassar developed a series of drawings inspired by the Persian poem The Conference of the Birds. Here, Kassar conjures a story of exile from her own family history. Originally from Mosul and Mardin—present day Iraq and Turkey—her ancestors fled the Ottoman massacres of minorities during the late-nineteenth and early twentieth century.
Sophie Calle: For the Last and First Time
Musée d’art contemporain de Montréal
185, rue Sainte-Catherine Ouest, Montréal, Québec H2X 3X5 Canada
February 5–May 10, 2015
The Musée d’art contemporain de Montréal presents For the Last and First Time,a two-part exhibition by Sophie Calle (b. Paris, 1953), one of the most important conceptualists artists of her generation. The exhibition comprises two successive projects developed in Istanbul, The Last Image (2010) and Voir la mer (2011). Calle’s poetic investigation of beauty, blindness, and the sea reflects on visual and emotional relationships with the concept of beautythrough an insightful look at both the loss of one’s eyesight, through the particular mental images of blind people, and at the discovery of beauty and the sublime for the first time.
The Last Image isan installation of a series of photographs, tinged with melancholy and accompanied by texts and the soothing sound of waves. For this project, the artist spoke to blind people who had lost their sight suddenly, asking them to recall and describe the last thing they saw. Later on, while in Istanbul, Calle met many people that, in a city surrounded by water, had never seen the sea. For Voir la mer, a series of captivating first encounters with the sea, she filmed fifteen people from different ages looking at the sea for the first time in their lives.
Aware of the impossibility of re-creating the first glance, these series of digital films were in this case created with the assistant of a filmmaker. Calle found most meaningful to remain herself at the back of the viewers, waiting to observe their glances when they turn around after seeing the sea for the first time in their lives. As the artist recalls: “I went with each person individually, such as this man in his thirties. Before we arrived I made him cover his eyes. Once we were safely by the sea, I instructed him to take away his hands and look at it. Then, when he was ready—for some it was five minutes and for others fifteen—he had to turn to me and let me look at those eyes that had just seen the sea.”
Through presenting together The Last Image and Voir la mer, the exhibition opens a moving dialogue among memory, sight, beauty, and the sea. As often in the development of Calle’s projects, The Last Image and Voir la mer derive from an earlier series, The Blind, developed in 1986, in which the artist asked blind people to describe the notion of beauty for them. One of them had answered: “The most beautiful thing I have ever seen is the sea, the endless sea.”
Calle has developed a “polyphonic” art dealing with photography, writing, video, and performance. Throughout four decades of creative practice, she has produced extraordinary, audacious works that draw on her own history as well as that of others. Through a poetic, sincere, and intimate approach, Calle invites us to break through the boundaries between private and public life, creating and recording moments of startling truth, tinged with notions of loss, absence, and desire.
Doris Salcedo
Museum of Contemporary Art, Chicago
220 East Chicago Ave, Chicago, IL 60611
February 21–May 24, 2015
The Museum of Contemporary Art, Chicago, presents the first retrospective of the thirty-year career of the renowned Colombian artist Doris Salcedo, whose work, although deeply rooted in her country’s social and political landscape, investigates human conflict manifested in different parts of the world. Salcedo (b. 1958), who lives and works in Bogotá, transforms ordinary and domestic objects (such as chairs, tables) into alternative memorials to the painful absence that embodied a traumatic loss of human life. In this process, the artist grounds her art in rigorous fieldwork, which involves extensive interviews with people who have experienced loss and trauma in their everyday lives due to political violence. She has been increasingly noted for her large-scale installations and architectural interventions. Between them, her work Shibboleth, a 167-meter-long crack in the turbine floor, developed as a commission for the Tate Modern Unilever Projects in 2007, raised questions of borders, racial hatred, and exclusion. Through a laborious and seemingly healing art-making process, Salcedo creates sculptures and installation that explore the indescribable wounds of violence as a universal phenomenon through a subtle, poetic, yet devastatingly powerful visual language.
Salcedo’s retrospective at the museum begins with a selection of her earliest works, many of which are exhibited together en masse for the first time since 1998: sculptures made with concrete-filled doors, tables, armoires, chairs. Other major installations include La Casa Viuda (1993–95), Unland (1995–98), Atrabiliarios (1992–2004), A Flor de Piel (2014), and Disremembered (2014). It also presents the American debut of Salcedo’s major work Plegaria Muda (2008–10), an expansive installation of tables, inverted one atop another, while individual blades of grass grow through the holes in their surfaces. Responding once again to acts of violence, its contemplative stillness evokes associations of a collective burial site. This piece was inspired by a three-year-long research of gang violence at the ghettoes of southeastern Los Angeles, as well as by the 2008 discovery that members of the Colombian Army had been killing innocent civilians and dressing their corpses in guerrilla uniforms to claim government bounties. As Salcedo points out, speaking about modern, war-torn societies, “we have lost our ability to mourn…. I want my work to play the role of funeral oration, honoring this life.”
The Museum of Contemporary Art, Chicago, is producing a short film documenting Salcedo’s site-specific and ephemeral installations and a 250-page publication featuring an overview of the artist’s career by leading scholars and curators. The exhibition travels to the Solomon R. Guggenheim Museum in New York, where it will be seen June 26–October 14, 2015.
Body Talk: Feminism, Sexuality, and the Body in the Work of Six African Women Artists
WIELS, Contemporary Art Centre
Avenue Van Volxemlaan 354, 1190 Brussels, Belgium
February 14–May 3, 2015
WIELS Contemporary Art Center in Brussels presents Body Talks, an exhibition along a series of conversations and performances that address issues feminism, sexuality, and the body in the work of six African women artists. Curated by Koyo Kouoh and assisted by Eva Barois De Caevel from the RAW Material Company in Dakar, the exhibition explores the body as the subject of reflection and medium of artistic practice, as in the case of the “confrontational” performances of the South African artist Tracey Rose.
The spread of artistic practices to international networks, along with the critical resonance of a specifically African (and black) feminism, have given shape to the development of a black feminist art. Referencing to historical and political figures, black feminist art depicts bodies that continue a tradition of activism and freedom of speech. Bringing together the work of a generation of women artists from Africa active since the late 1990s, this group exhibition challenges pervasive fantasies and inequalities relating to women’s bodies and sexuality. While in the work of the selected artists the body manifests itself, as a model, support, subject, or/and object, the project as a whole attempts to define and articulate notions of feminism and sexuality in the work of women artists whose body serves as a tool, a representation, or a research field.
Exhibiting artists, from diverse regions of the continent and the diaspora, are: Zoulikha Bouabdellah (Algeria/France, b. 1977); Marcia Kure (Nigeria, b. 1970); Miriam Syowia Kyambi (Kenya, b. 1979); Valérie Oka (Cote d’Ivoire, b. 1967); Tracey Rose (South Africa, b. 1974); and Billie Zangewa (Malawi/Zimbawe, b. 1973).
Between the presented projects: Kure evokes Saartjie Baartman, “the Hottentot Venus,” who was born in what is now South Africa but taken to Europe in the early nineteenth century to be put on show. As the curator explains, “Baartman has really become a point of departure for thinking about the African woman’s body.”
Bouabdellah—who was at the center of a recent dispute about self-censorship for her Silence piece, an installation composed of prayer mats on which she had arranged high-heeled shoes—presents a series of collages for which she has cut famous paintings depicting women’s bodies into Eastern motifs. Oka presented two performances at the opening reflecting on the sexual clichés inherited from the period of slavery and colonization that stigmatize the black body and the idea that the African woman is allegedly more sensual and better at sex.
Rediscovering, reintegrating, and reinterpreting the body, this exhibition presents the response of a generation of African women artists that challenge stereotypes of the notion “black” sexuality and feminism through diverse means of dialoguing with—and experienced from—the own body.
Maryland to Murano: Neckpieces and Sculptures by Joyce J. Scott
Museum of Art and Design
2 Columbus Circle, New York, NY 10019
September 30, 2014–March 15, 2015
The Museum of Art and Design in New York presents Maryland to Murano: Neckpieces and Sculptures by Joyce J. Scott, which bringstogether neckpieces and blown-glass sculptures by the renowned “Queen of Beadwork” for the first time. Provocative and confrontational, Scott’s exuberant beaded sculptural forms and neckpieces address contentious political and social issues such as gender, race, and class struggle.
Maryland to Murano examines Scott’s ever-evolving techniques and continued exploration of provocative narratives through her commitment to craft. The show also highlights Scott’s range in both form and content in a extensive body of work created in her workshop in Baltimore, Maryland, and in her recent glass sculptures made at the Berengo Studio on Murano Island in Venice, Italy.
Scott (b. Baltimore, 1948) is a descendant of African Americans, Native Americans, and Scots. She received her first art lessons at home watching her mother—the renowned fiber artist Elizabeth Talford Scott—using unconventional techniques of embroidery and appliqué in creating her quilts. Scott’s creative process is deeply rooted in her ethnic and family heritage: three generations of storytellers, quilters, basket makers, and shapers of wood, metal, and clay.
Through the interplay between these two bodies of work, as well as a documentary video, the exhibition not only reveals the range of Scott’s technique and skill and the complex relationship she has shaped among adornment, content and methodology, but it also expresses her commentary on issues affecting contemporary society in an effort to elicit awareness and response. As the artist states: “It’s important to me to use art in a manner that incites people to look and then carry something home—even it it’s subliminal—that might make a change in them.” Scott’s thought-provoking, portable beaded pieces are certainly inciting us to be carried either way.
Affiliated Society News for March 2015
posted by CAA — March 09, 2015
American Council for Southern Asian Art
As approved by a vote of the membership, the American Council for Southern Asian Art (ACSAA) membership dues will be increasing. In addition, there are new membership categories and, as per request of the membership, multiyear options. ACSAA membership dues have not changed in more than ten years. Since then the organization has grown and thus taken on more expenses, such as the creation and regular maintenance of a website. The new dues structure brings ACSAA into alignment with other similar organizations.
The new membership dues structure is as follows:
- Students, Retired Members, Independent Scholars, and Scholars in South and Southeast Asia: $20 and $40 (two years)
- Regular Member: $50 and $100 (two years)
- Contributing Member: $100 and $200 (two years)
- Institutional Member: $100
- Sustaining Member: $250 minimum
- Lifetime Patron: $3,000
To join or renew as an ACSAA member, go to http://www.acsaa.us/membership.
ACSAA is also pleased to announce that the 2015 symposium, which celebrates the fiftieth anniversary of the organization’s founding, will be held in Toronto, Ontario, this coming October. Additional details will soon be available on the website.
American Institute for Conservation
Please join the American Institute for Conservation (AIC) at its forty-third annual meeting in Miami, Florida, from May 13 to 15, 2015. The theme is “Practical Philosophy, or Making Conservation Work.” All aspects of conservation, from preventive care to inpainting, include both theory and practice. In most cases, theory supports practice. Nonetheless, conservation professionals are sometimes challenged in their efforts to smoothly meld the two. Many factors, ranging from available resources to questions of public access and politics, can thwart even the best treatments plans and noblest intentions. The transition from what is initially envisioned as ideal to what is eventually acknowledged as realistic often requires compromise. But, are less than satisfactory outcomes inevitable? Or, can better solutions evolve from necessity? Attend AIC’s annual meeting to learn how philosophical principles can be successfully translated into workable—even superior—practice. In addition, as UNESCO has proclaimed 2015 the International Year of Light, presentations on practical solutions that take advantage of optical technology to examine and preserve cultural heritage are being highlighted. Learn more and register at www.conservation-us.org/meetings.
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, 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 Appraisers
The Personal Property Committee of the American Society of Appraisers invites you to its annual spring conference, “Current Issues in Determining Authenticity in Visual Art and Objects, the Catalogue Raisonné, Art Scholarship, and Value in the Marketplace,” to be held March 25–27, 2015, at the Yale Club in New York. This scholarly conference will bring together highly regarded and noted experts in their fields. Speakers and topics to be addressed will include numerous aspects of the problems appraisers, art-industry professionals, and collectors must continually consider. An optional field trip to the Princeton University Art Museum, Sculpture Collection, and Libraries will take place on Saturday, March 28. Accommodations have been reserved at the Yale Club and the Roosevelt Hotel for this event. This will be a not-to-miss conference! Register now to save your spot. Limited spaces are available for the conference, which is expected to sell out. Go to www.appraisers.org or call 800-272-8258.
Arts Council of the African Studies Association
The Arts Council of the African Studies Association (ACASA) continues to have a sustained presence at national and international conferences in the first part of 2015. Numerous member-developed panels and individual papers have been accepted at the sixth European Conference on African Studies (ECAS 6), which will be held at the Sorbonne in Paris, France. The principal theme of ECAS 6 is “Collective Mobilizations in Africa: Contestation, Resistance, Revolt,” and ACASA panels will engage with topics ranging from the circulation of African art in the twentieth and twenty-first centuries to censorship and politically engaged artists to the consumption of African art in the electronic age. In addition, Jordan Fenton chaired the ACASA-sponsored panel “African Art and Economics in Urban Spaces,” at the 2015 CAA Annual Conference. Finally, plans for the seventeenth ACASA Triennial Symposium on African Art continue to make positive advancements. The symposium, which will take place at the University of Ghana in Legon in August 2017, will be ACASA’s first meeting on the African continent, marking the association’s longstanding commitment toward promoting greater understanding of African expressive culture from a global perspective.
ArtTable
This summer, ArtTable is expanding its Summer Mentored Internship for Diversity in the Visual Arts Professions program, one of the longest standing internship programs supporting diversity in the visual arts in the country. ArtTable’sprogram places women graduate students from cultural/ethnic backgrounds underrepresented in the field with ArtTable mentors at institutions around the country, providing them with a one-on-one mentoring relationship, valuable professional experience, and a stipend. Through the support of private donors, the Sam Francis Foundation, and the Samuel H. Kress Foundation, the program will expand to provide internships to six young women this summer.
ArtTable and the arts community suffered a great loss with the passing of Lea K. Green this year. Lea was a long-standing ArtTable member, a vice president and client strategy director at Christie’s, a recent member of ArtTable’s board of directors, and an active and passionate member of the arts community. In collaboration with Lea K. Green’s family, ArtTable has established a fund to support its Diversity Internship Program and host a Lea K. Green summer intern. To make a contribution in Lea’s name, please contact info@arttable.org.
Association of Art Museum Curators
The Association of Art Museum Curators (AAMC) has announced the keynote speaker and hosts for its fourteenth annual conference and meeting, taking place May 9–12, 2015. The keynote speaker will be Tom Finkelpearl, commissioner of the New York City Department of Cultural Affairs. His experience and perspective on the powerful and mutually rewarding relationship that can exist between a museum and its immediate community and the ways in which to engage a culturally diverse region will resonate with and inspire the conference attendees. Conference sessions and events will be held at several New York area cultural institutions, including the Newark Museum, the Brooklyn Museum, and the Bronx Museum of the Arts. “The historically adventurous characteristics of these institutions and the ways in which they have met the challenges of the twenty-first-century art museum will make for thought-provoking and insightful case studies for our AAMC members,” said Emily Ballew Neff, AAMC president. “The AAMC looks forward to learning more about the challenge and success of each museum in connecting effectively with its communities, and we are honored to be so warmly welcomed by each venue for the conference.”
Community College Professors of Art and Art History
The Community College Professors of Art and Art History (CCPAAH) had a successful session at this year’s CAA Annual Conference. “Foundations Flipped? Active Learning in Art History and the Studio” was the topic of the 2015 session. Thanks to Monica Anke Hahn (chair) and Lauren Patterson of the Community College of Philadelphia and Richard Thompson and Susan Altman of Middlesex County College for presenting, and also to all the attendees for their lively discussion. CCPAAH would also like to thank the twenty-five-plus faculty members who shared their “best practices” and project ideas at the business meeting. Everyone left with new ideas to take back to their classrooms. Join CCPAAH for “Beyond Good, Bad, and ‘I Like It’: A New Take on Critique,” to be presented at this year’s Foundations in Art: Theory and Education (FATE) conference in Indianapolis, Indiana. Please email the group at ccpaah@gmail.com if you are interested in learning more or if you have questions. You can also like CCPAAH’s Facebook page.
Historians of British Art
The board of the Historians of British Art welcomes two new members: Julie Codell, professor of art history at Arizona State University; and Melinda McCurdy, associate curator of British art for the Huntington Library, Art Collections, and Botanical Gardens. We would also like to welcome Douglas Fordham, Associate Professor of Art History, University of Virginia, as the incoming Book Prize Committee chair. Hyeyun Chin of Binghamton University, State University of New York, has been awarded HBA’s Travel Grant to support the presentation of a paper at CAA’s 2015 Annual Conference. For more information on HBA, including our prizes and membership, visit the website or find HBA on Facebook.
International Association of Art Critics
The International Association of Art Critics (AICA-USA) is pleased to announce that Martha Schwendener, art critic for The New York Times, has joined the organization’s board.
The panel “Art Critics’ Websites: Options and Rationales” has been rescheduled for Monday, March 16, 2015, 6:15–7:45 PM, at Artists Space, 55 Walker Street. Judith Stein will chair the panel, and four panelists will speak. Please RSVP to info@aicausa.org. Seating is limited to eighty people and available on a first-come, first-served basis.
International Center of Medieval Art
The International Center of Medieval Art (ICMA) is pleased to announce a new initiative. Drawing upon its own resources, the organization plans to make available a number of small grants to graduate students; these grants are designed to underwrite a month or so of travel to sites, collections, or libraries abroad. The awards will most likely be offered to graduate student members in the first stages of dissertation research. For more information, contact icma@medievalart.org.
International Sculpture Center
You’re invited to join International Sculpture Center (ISC) to celebrate International Sculpture Day, or IS Day for short. This event is an annual celebration held worldwide on April 24 to further the ISC’s mission of advancing the creation and understating of sculpture and its unique, vital contribution to society. IS Day is free and open to anyone or organization with an interest in sculpture; it will include a wide range of events, openings, and educational and promotional activities around the world. Visit www.sculpture.org/isday to learn how you can participate and to view events in your area. Visit ISC on Facebook and Twitter to join the conversation.
ISC will hold the twenty-fifth International Sculpture Conference, on “New Frontiers in Sculpture,” from November 4 to 7, 2015 in Phoenix, Arizona. Over three hundred sculpture enthusiasts from around the world will gather for engaging panel discussions, exciting cultural events, and peer networking surrounding topics in contemporary sculpture. Conference registration will open summer 2015. For more information, visit www.sculpture.org/az2015.
National Art Education Association
Don’t miss the largest gathering of art educators in the world! Register now for the 2015 National Art Education Association (NAEA) national convention. Focusing on “The Art of Design: Form, Function, and the Future of Visual Arts Education,” the event will take place March 26–28, 2015, in New Orleans, Louisiana. New NAEA publications that will at the convention are: Connecting Creativity Research and Practice in Art Education: Foundations, Pedagogies, and Contemporary Issues (2015), edited by Flávia Bastos and Enid Zimmerman; and Curriculum Inquiry and Design for School- and Community-Based Art Education (2015) by Lynn Beudert and Marissa McClure.
National Council of Arts Administrators
The forty-third National Council of Arts Administrators (NCAA) annual meeting, “Changing Lanes: Adapting, Reacting, Navigating,” convenes September 23–25, 2015, in Boston, Massachuhsetts. Please join NCAA at Boston University for a conversation about the road(s) to best practices in our changing educational climate. We all know that the very structure of universities is shifting beneath our feet. How do and will art programs and administrators not only accommodate but also harness these changes? We invite current and aspiring art department chairs, directors, and deans to attend. The keynote speaker will be the architect and artist Maya Lin. Visit the website to learn more about the conference and to join NCAA.
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 30 minutes (20–25 minutes talk, 5–10 minutes discussion) or 10-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, from September 30 to 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, contact Karen Stevenson.
Public Art Dialogue
Harriet F. Senie and Kelly Pajek are stepping down as cochairs of Public Art Dialogue (PAD), and Juilee Decker is stepping down as membership coordinator. (PAD officers are limited to two three-year terms according to its bylaws.) In addition, Natasha Khandekar departs from her role as newsletter editor and web-content editor. PAD’s new cochairs are Cameron Cartiere and Jennifer Wingate. PAD’s membership coordinator is Anna Heineman. Marisa Lerer will serve as newsletter and web-content editor in addition to serving as PAD’s public relations coordinator.
Society for Photographic Education
The Society for Photographic Education (SPE) is accepting proposals for its fifty-third conference, “Constructed Realities,” to be held from March 10–13, 2016, in Las Vegas, Nevada. 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
Visit www.spenational.org for information on SPE membership and full proposal guidelines.
Society of Architectural Historians
Registration is open for the Society of Architectural Historians (SAH) sixty-eighth annual international conference in Chicago, Illinois, taking place April 15–19, 2015. The conference features over 180 speakers presenting new research on built environment topics from antiquity to the critical present. Public programming includes the SAH Chicago Seminar and over thirty architectural tours. The seminar includes a keynote address by Harvard University professor Charles Waldheim and two panels of local speakers addressing the transformation of Chicago waterways and neighborhoods.
Registration is open for two Study Programs: SAH Study Day at the Museum of Modern Art and the United Nations Headquarters (New York, March 27, 2015); and Architectures in the Rio de la Plata Basin: Between Tradition and Cosmopolitanism (Uruguay and Argentina, September 1–12, 2015).
SAH is accepting applications for the SAH/Mellon Author Awards, which provide financial relief to scholars who are publishing their first monograph on the history of the built environment and who are responsible for paying for rights and permissions for images or for commissioning maps, charts, or line drawings in their publications. Deadline: June 1, 2015. The call for papers for the SAH sixty-ninth annual international conference will open on April 1, 2015. The H. Allen Brooks Travelling Fellowship will open on April 1, 2015.
Society of Historians of East European, Eurasian, and Russian Art and Architecture
Following elections in January 2015, the Society of Historians of East European, Eurasian, and Russian Art and Architecture (SHERA) has elected Eva Forgacs as its new vice president/president elect. Ksenya Gurshtein, the web news editor, was running unopposed. Margaret Samu stepped down as SHERA’s president after the end of her two-year term, and Natasha Kurchanova assumed the duties of this position.
At CAA’s Annual Conference in New York, Margaret Samu served as host to visitors from Hungary, Russia, and Ukraine who were part of the CAA-Getty International Program. Samu arranged meetings with specialists in the visitors’ expertise and facilitated their participation in a full-day preconference program organized by the CAA International Committee about international issues in art history, as well as in other events organized connected to the conference.
SHERA sponsored three sessions at CAA this year: a session on teaching methods, “Infiltrating the Pedagogical Canon”; and a double session, “Reconsidering Art and Politics: Towards New Narratives in Russian and East European Art.” During CAA, the society held its membership meeting at the Metropolitan Museum of Art’s Watson Library. After the meeting, Jared Ash, SHERA member and the museum’s librarian, hosted a reception at which he showed the attendees rare books and materials related to Russian, East European, and Eurasian art and architecture from the library’s collection.
Southeastern College Art Conference
The next meeting of the Southeastern College Art Conference (SECAC) will take place in Pittsburgh, Pennsylvania, October 21–24, 2015. The deadline for the call for entries in the annual juried exhibition is April 1. The deadline for the call for papers is April 20. For more information, please visit www.secollegeart.org/conference.
New officers were elected at the members meeting on October 11, 2014, which took place at the seventieth annual meeting of SECAC, held in Sarasota, Florida: Jason Guynes of the University of South Alabama is president; Sandra Reed of Marshall University is first vice president; and Kevin Concannon of Virginia Tech is second vice president. The new board members are: Heather Deyling of Savannah College of Art and Design (appointed to fill vacated seat for Georgia); Ute Wachsmann-Linnan of Columbia College (South Carolina); and Heather Stark, Marshall University (West Virginia).
The new issue of the Southeastern College Art Conference Review (vol. XVI, no. 4) is now available. Rachel Stephens of the University of Alabama is the new editor. The name of the journal will change to Art Inquiries with volume XVII.
The future conference locations for SECAC will be:
- 2016 Roanoke, Virginia (hosted by Virginia Tech with Hollins University)
- 2017 Columbus, Ohio (hosted by Columbus College of Art and Design)
- 2018 Birmingham, Alabama (hosted by the University of Alabama at Birmingham)
The $5,000 Artist’s Fellowship award has a deadline of August 1, 2015. Membership is required for applications For details, visit http://www.secollegeart.org/artists-fellowship.
Visual Resources Association
The Visual Resources Association (VRA) has opened registration for the 2015 Summer Educational Institute for Visual Resources and Image Management (SEI), a joint project of the Art Libraries Society of North America (ARLIS/NA) and the Visual Resources Association Foundation (VRAF). SEI seeks to provide information professionals with a substantive educational and professional-development opportunity focused on digital imaging, the information and experience needed to stay current in a rapidly changing field, and the opportunity to create a network of supportive colleagues. This intensive three-and-a-half-day workshop will feature a curriculum that specifically addresses the requirements of today’s visual-resources and image management professionals. Expert instructors will cover: intellectual property rights, digital imaging and digital preservation, metadata and cataloging, project management, and professional growth and development. SEI 2015 will be held at the University of Illinois in Urbana-Champaign, June 9–12, 2015. SEI is a residential learning workshop for library-school students, new graduates, and midcareer professionals interested in learning more about digital collections, including metadata, project management, and professional best practices. For more information, please go to the SEI website.
Committee on Diversity Practices highlights for March/April 2015
posted by CAA — March 09, 2015
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.
March/April 2015
Wael Shawky: Cabaret Crusades
MoMA PS1
Long Island City, New York
January 31, 2015–August 31, 2015
“For his first solo exhibition at a major American museum, Wael Shawky presents his epic video trilogy that recounts the history of The Crusades from an Arab perspective. Inspired by The Crusades Through Arab Eyes by Lebanese historian Amin Maalouf, Shawky’s videos chart the numerous European campaigns to the Holy Land, starting from the early Crusades from 1096–1099 A.D. that are depicted in CABARET CRUSADES: THE HORROR SHOW FILES (2010) and the First and Second Crusades from 1099–1145 A.D. in CABARET CRUSADES: THE PATH TO CAIRO (2012). The MoMA PS1 exhibition will feature both works and debut the third and final video from the series, CABARET CRUSADES: THE SECRETS of KARBALA.
Based on accounts from primary sources, Shawky complicates the traditional civilization clash narrative by describing scenes that refute common notions of the era. Shawky highlights both the secular motivations of the European fighters and the competition and violence among Arab leaders. Using 200-year-old marionettes from a collection in Italy for the first installment, and custom-made ceramic figures for the second, Shawky says the puppets help create a “surreal and mythical atmosphere that blends drama and cynicism, telling a story of remote events that could hardly be more topical today. The puppets’ strings clearly refer to the idea of control. The work also implies a criticism of the way history has been written and manipulated.” (http://momaps1.org/exhibitions/view/394)
More information: http://momaps1.org
After Midnight: Indian Modernism to Contemporary India 1947/1997
Queens Museum
Queens, New York
March 8, 2015–June 28, 2015
“After Midnight: Indian Modernism to Contemporary India 1947/1997 presents a comparative study of art created in the wake of two defining moments in Indian history. The first, Indian independence in 1947 was notable for the emergence of the Progressives Artists Group. The second was 1997, which marked 50 years of India’s independence, a period that coincided with economic liberalization, political instability, the growth of a religious right wing, as well as a newly globalizing art market and international biennial circuit, in which Indian artists had begun to participate. The year 1997 also prompted a host of several important international exhibitions of Indian art around the world including the first Indian exhibitions in the United States: Out of India, at the Queens Museum and Traditions/Tensions at The Asia Society 1996–1997. Telling Tales: 5 Women artists from India, held at the Victoria Gallery, Bath, UK was followed by Private Mythology: Contemporary Art from India, curated by The Japan Foundation in Tokyo, 1998.
After Midnight will be the first exhibition large-scale examination of Indian art in the United States prominently featuring the Modern masters, core members of the Progressives including M. F. Husain, S. H. Raza, F. N. Souza, and their extended circle of friends such as Ram Kumar, Krishen Khanna, V. S. Gaitonde, Tyeb Mehta, and Akbar Padamsee.
The contemporary section of the show brings to the fore pertinent issues that have taken place from 1997 to the present. These include a critique of globalization-at-large, affected by the changing economy that forever altered the nation. Not only did this prompt economic growth in India that created opportunities for growth and progress, but at the same time it brought several setbacks such as the exploitation of labor and rural migration to name a few. The contemporary artists in the exhibition are CAMP, Nikhil Chopra, Desire Machine Collective, Atul Dodiya, Anita Dube, Sheela Gowda, Shilpa Gupta, Subodh Gupta, Tushar Joag, Jitish Kallat, Tallur L. N., Prajakta Potnis, Sreshta Rit Premnath, Raqs Media Collective, Sharmila Samant, Mithu Sen, Dayanita Singh and Asim Waqif.
After Midnight, while a large-scale survey show itself, adopts a critical position against blockbuster exhibitions of Indian art that have undertaken tokenist representation of India, or have attempted to illustrate the nation through its art. Instead of capitulating to the market forces and the need of the West to “present” and “frame” Indian cultural practices, the intent of the exhibition is to dismantle the stereotypical nationalist presentations of India. The exhibition attempts to produce and present art practices, dialogues, and questions emerging from an Indian context to be embraced within the larger global framework of modernity. After Midnight resists being mapped or firmly placed with the boundaries of the nation. Instead, it looks to draw on a new critical body of knowledge that has arisen from a new globalism, in which everything seems to be in the process of being redefined, including individual freedom and rights and the idea of India itself. Most importantly the exhibition disbands positions that are no longer useful, to allow for an expanded, inclusive dialogue of art and culture to emerge. The exhibition includes work in a variety of media and consists of both existing works and new commissions.” (http://www.queensmuseum.org/exhibitions/2013/11/08/after-midnight/)
More information: http://www.queensmuseum.org
Jesse Howard: Thy Kingdom Come
Contemporary Art Museum St Louis.
St. Louis, Missouri
January 16, 2015–April 11, 2015
“Thy Kingdom Come is the first comprehensive museum survey of the work of Jesse Clyde Howard, a self-taught artist, evangelist, and keen advocate of “free thought and free speech” who lived and worked in Fulton, Missouri, from the 1940s through the early ’80s. Presenting more than 100 of Howard’s hand-painted signs comprising religious exhortations, political denunciations, and autobiographical details, the exhibition documents the profusion of creative energy reflected in the artist’s dogmatic faith in the First Amendment—rights that were, according to Howard, under threat from the dissemination of communism and progressivism.
In 1903, at the age of eighteen, Howard left home to pursue a variety of temporary occupations on the West Coast. These years of migrant labor exposed him to a system of vernacular signage that would later instruct his principal period of artistic production. In 1944 Howard and his wife, Maude Linton, moved with their five children to “Sorehead Hill,” a twenty-acre compound north of Fulton. Here he began crafting model airplanes, dog carts, and other curiosities before devoting himself to creating signs expounding personal dogmas and cultural perceptions. By the time of his death in 1983, Howard had constructed a landscape of sculptural and textual works surrounding his home and workshops.
Howard’s initial artistic projects of the 1940s were met with condemnation by Fulton, leading some in the community to steal and deface his works, which resulted in subsequent allegations in Howard’s later signage. For Howard, the biblical citations of “the confusion of language” and “the earth divided” found throughout his text are not simply cosmic consequences of human transgression but intimate biographical details that reflect his community’s misunderstanding and rejection. Howard projects the inequities present in Biblical literature onto his neighbors to legitimize the prophetic nature of his “signs and wonders,” and in the process reveals the problematic relationship between self-advertisement and recourse to scriptural authority.” (http://camstl.org/exhibitions/main-gallery/jesse-howard/)
More information: http://camstl.org
Wifredo Lam: Imagining New Worlds
High Museum of Art
Atlanta, Georgia
February 14, 2015–May 24, 2015
“The High Museum of Art presents a retrospective of work by Wifredo Lam, a preeminent artist of Latin American origin and one of the Surrealist movement’s most influential figures, from Feb. 14 through May 24, 2015. Wifredo Lam: Imagining New Worlds features more than 40 paintings and a selection of drawings, prints and ephemera by the internationally renowned, Cuban-born artist. Many of Lam’s masterworks—drawn from public and private collections across Europe, Latin America and the U.S.—are presented together for the first time in the exhibition, which offers a rare overview and reexamination of the artist’s career.
Wifredo Lam: Imagining New Words sheds light on Lam’s seminal periods of artistic development, tracing the global path of his career from its academic roots in Madrid to Lam’s pivotal stay in pre-war Paris and his return to Cuba in the early 1940s. The works reveal the many important influences on Lam’s career, from the European literary and artistic avant-garde to African art.
Born in Cuba to a Chinese father and a mother of African and Spanish descent, Lam (1902-82) gave expression to his multiracial and cultural ancestry while engaging with the major political, literary and artistic circles whose work came to define modernism in the 20th century. In 1938, Lam moved to Paris, where he absorbed the tenets of European modernism, became an important artist of the 1940s Surrealist group, and was introduced to such influential figures as Pablo Picasso and André Breton.
The impact of Lam’s interactions with artists, poets and philosophers on his work is a central theme of Imagining New Worlds, which examines the influence of such pioneering figures as Picasso, Breton, Federico García Lorca, Alejo Carpentier, Gabriel García Márquez and Aimé Césaire.
The exhibition will also consider how the Négritude movement shaped Lam’s work. Lam discovered the literary and ideological movement during his time in Haiti through his relationship with Césaire, the Francophone writer from Martinique whose book of poetry “The Native Land” was published in Spanish translation (“Retorno al pais natal”) in 1943 with illustrations by Lam. Césaire was one of the founders of the movement, which focuses on a black identity that rejects French colonialism.
Returning to Havana in 1941, Lam arrived at his signature hybrid style of painting: a blend of surrealism, magic realism, modernism and postmodernism characterized by a cross-cultural fusion of influences including Afro-Cuban symbolism and imagery related to the Santería religion practiced in the Caribbean.” (http://www.high.org/Press/Press-Releases/2015/February/Wifredo-Lam-Press-Release.aspx)
More information: http://www.high.org/
Lee Bul
National Museum of Contemporary Art
Seoul, Korea
September 30, 2014–March 1, 2015
“In the 1980s, Lee received a very traditional education in sculpture at Hongik University in Korea. From her earliest works, however, she has actively rebelled against the conventional academic art that tends to dominate the Korean art field. She officially launched her professional career in the late 1980s with a series of provocative performances, installations, and sculptures that scathingly criticized the social and political power structure of patriarchal culture. She hung upside down from a rope while naked, to the accompaniment of a pop song. The work was a powerful visualization of the pain of abortion as well as a public confession about her own experience. The same year, in her outdoor performance, she wore the makeup of a shaman and a soft costume of a monster with giant tentacles, and then ran through the fields of Jangheung. In another performance, she wore a similar monster outfit when she wandered Gimpo Airport in Korea, Narita Airport in Japan and the streets of downtown Tokyo for twelve days in costume, eliciting various responses from pedestrians. These performances represented her resistance to a number of binary oppositions: human vs. monster, reason vs. feeling, man vs. woman, logic vs. illogic. Furthermore, they were parodies of femininity, which has been identified with the seditious object of exclusion. As such, she raised compelling questions about existing values and conventions.
Lee’s Mon grand récit series, first shown in 2005, continued to explore the oppressive relationship between the human and society and the gloomy future of science and technology. At the same time, Lee harkened back to some of the central issues of early twentieth-century architecture, with its pursuit of utopia through design. For On Every New Shadow, Lee’s 2007 exhibition at the Fondation Cartier pour l’art contemporain in Paris, she made to unfold massive installation works, as if reconstituting these themes as landscapes unto themselves. The Mon grand récit series reflects Lee’s views on Jean-François Lyotard, who posited that the so-called “grand narrative,” or metanarrative, was impossible in the age of post-modernism. Recognizing the impossibility of grand narrative, Lee presented various “small narratives” that were fragmented and imperfect, and which continuously floated around with no resolution. Her works were designed to make viewers contemplate the traces of corruption disclosed in history, the failure of modernist idealism, and the specters of modernism that continue to haunt the daily life and consciousness of individuals.” (http://www.mmca.go.kr/eng/exhibitions/exhibitionsDetail.do?exhId=201409300000154&menuId=1010000000)
More information: http://www.mmca.go.kr/eng/
2015 Annual Conference Highlights
posted by CAA — March 03, 2015
CAA hosted its 103rd Annual Conference from February 11 to 14, 2015, at the New York Hilton Midtown in New York City. This year’s program included four days of presentations and panel discussions on art history and visual culture, Career Services for professionals at all stages of their careers, a Book and Trade Fair, and a host of special events throughout the region. Preceding the Annual Conference was CAA’s third THATCamp, an “unconference” on digital art and art history.
Attendance
Over 5,000 people from throughout the United States and abroad—including artists, art historians, students, educators, curators, critics, collectors, and museum staff—attended the conference. Visual-arts professionals from over 54 countries were represented.
Sessions
Conference sessions featured presentations by artists, scholars, graduate students, and curators who addressed a range of topics in art history and the visual arts. In total, the conference offered over 200 sessions, developed by CAA members, affiliated societies, and committees. Approximately 800 individuals presented their work.
Career Services
Career Services included four days of mentoring and portfolio-review sessions, professional-development workshops, and job interviews with colleges, universities, and other art institutions. Approximately 200 interviewees and 50 mentors participated in Career Services. During the week of the Annual Conference, there were over 150 active jobs posted on the Online Career Center and more than 50 employers participating onsite.
Book and Trade Fair
This year’s Book and Trade Fair presented 155 exhibitors—including participants from the United States, France, Turkey, China, Canada, Italy, Russia, and Ukraine—that displayed new publications, materials for artists, digital resources, and other innovative products of interest to artists, scholars, and arts enthusiasts. The Book and Trade Fair also featured book signings, lectures, and demonstrations, as well as three exhibitor-sponsored program sessions on art materials and publishing.
ARTspace
ARTspace, a “conference within the conference” tailored to the needs and interests of practicing artists, presented programming that was free and open to the public, including this year’s Annual Distinguished Artist Interviews with William Pope.L, who spoke to Jenny Schlenzka of MoMA PS1, and Ursula von Rydingsvard, who conversed with Mark Stevens. Over 200 people attended this lively event.
ARTspace also featured four days of panel discussions devoted to visual-arts practice, opportunities for professional development, and screenings of film and video.
ARTexchange, an open-portfolio event in which CAA artist members displayed drawings, prints, photographs, small paintings, and works on laptop computers, took place on Friday, February 13. Nearly 40 artists participated in ARTexchange this year.
The Media Lounge, a space for innovative new-media programming in conjunction with ARTspace, focused on the theme of “alternative economies.” These programs are considered models of social, cultural, and technological economies that transform changing conditions for critical discourse and art making. “Alternative economies” aimed to create a platform that brought together artists, art collectives, new-media practitioners, video artists, film curators, academics, creative thinkers, economists, writers, and activists, with the aspiration to create a space to reflect on intersections of art, culture, and new-media technologies.
Programmed by CAA’s Services to Artists Committee, ARTspace was made possible in part by a generous grant from the National Endowment for the Arts.
Student and Emerging Professionals Lounge
The Student and Emerging Professionals Lounge served as a hub for networking, information-sharing, collaboration, professional development, and much more. The Student and Emerging Professionals Committee hosted an incredibly informative session on “Teaching Professional Practices in the Arts” to a packed audience; five Brown Bag Sessions with attendance ranging from 25 to 80; a successful social night; and two days of Mock Interviews at full capacity.
Distinguished Scholar Session
Robert Farris Thompson, professor of the history of art at Yale University, was CAA’s 2015 Distinguished Scholar. Grey Gundaker of the College of William and Mary chaired the session, and five additional participants—Charles Daniel Dawson, Wyatt MacGaffey, Rowland Abiodun, Leslie King-Hammond, and Lowery Stokes Sims—joined her in exploring and celebrating Thompson’s many contributions.
Convocation and Awards
More than 500 people attended CAA’s Convocation and presentation of the annual Awards for Distinction, which honor the outstanding achievements and accomplishments of individual artists, art historians, authors, conservators, curators, and critics whose efforts transcend their individual disciplines and contribute to the profession as a whole and to the world at large. Tom Finkelpearl, commissioner of the New York City Department of Cultural Affairs, opened Convocation with a short talk, and Dave Hickey delivered the keynote address.
The recipients of the 2015 awards were:
Charles Rufus Morey Book Award
Megan Holmes
The Miraculous Image in Renaissance Florence
Yale University Press, 2013
Alfred H. Barr Jr. Award
Susan Weber, ed.
William Kent: Designing Georgian Britain
Bard Graduate Center and Yale University Press, 2013
Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions
Lynn Boland, et al.
Cercle et Carré and the International Spirit of Abstract Art
Georgia Museum of Art, University of Georgia, 2013
Arthur Kingsley Porter Prize
Douglas Brine
“Jan van Eyck, Canon Joris van der Paele, and the Art of Commemoration”
The Art Bulletin, September 2014
Art Journal Award
Anna Chave
Art Journal, Winter 2014
Distinguished Feminist Award
Amelia Jones
University of Southern California
Distinguished Teaching of Art Award
Richard Brown
Massachusetts College of Art and Design
Distinguished Teaching of Art History Award
Petra Ten-Doesschate Chu
Seton Hall University
Artist Award for Distinguished Body of Work
Charles Gaines
Charles Gaines: Gridwork 1974–1989
Studio Museum in Harlem
Distinguished Artist Award for Lifetime Achievement
Keith Sonnier
CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation
Melanie Gifford
National Gallery of Art
Distinguished Lifetime Achievement Award for Writing on Art
Lucy R. Lippard
Morey and Barr Award Finalists
CAA recognizes the 2015 finalists for the Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Award for their distinctive achievements:
Charles Rufus Morey Book Award
Matthew C. Hunter, Wicked Intelligence: Visual Art and the Science of Experiment in Restoration London (Chicago: University of Chicago Press, 2013)
Karl Whittington, Body-Worlds: Opicinus de Canistris and the Medieval Cartographic Imagination (Toronto: Pontifical Institute of Medieval Studies, 2014)
Catherine Zuromskis, Snapshot Photography: The Lives of Images (Cambridge, MA: MIT Press, 2013)
Alfred H. Barr Jr. Award
Kimberly A. Jones, et al., Degas/Cassatt (Washington, DC: National Gallery of Art and DelMonico Books, 2014)
Special Events
Following Convocation, the Museum of Modern Art hosted CAA’s Opening Reception on Wednesday evening, February 11. Over 500 attendees gathered to celebrate the conference while enjoying a stroll through the museum’s permanent collections.
CAA Travel Grant in Memory of Archibald Cason Edwards, Senior, and Sarah Stanley Gordon Edwards
Established by Mary D. Edwards with the help of others, the CAA Travel Grant in Memory of Archibald Cason Edwards, Senior, and Sarah Stanley Gordon Edwards will support women who are emerging scholars at either an advanced stage of pursuing a doctoral degree (ABD) or who have received their PhD within the two years prior to the submission of the application. Julia Louise Langbein of Oxford University delivered her paper “Caricature and Comic Spectacle at the Paris Salon (1857–1880)” in the “Comic Modern” session. and Kristine Tanton of the University of California, Los Angeles, participated in a panel on “Biblical Archetypes in the Middle Ages,” presenting a talk called “Looking onto Galilee: The Narthex Tribune at Vézelay.”
CAA-Getty International Travel Grant Program
In an effort to promote greater interaction and exchange between American and international art historians, CAA brought 15 scholars from around the world to participate in the Annual Conference. This is the fourth year of the program, which has been generously funded by grants from the Getty Foundation since its inception.
The CAA-Getty International Program participants’ activities began with a one-day preconference colloquium on international issues in art history, during which they met with North American–based CAA members to discuss common interests and challenges. The participants were assisted throughout the conference by CAA member hosts, who recommended relevant panel sessions and introduced them to colleagues who share their interests. Members of CAA’s International Committee served as hosts, along with representatives from several CAA affiliated societies, including the American Council for Southern Asian Art, the Arts Council of the African Studies Association, the Association for Latin American Art, the Society of Contemporary Art Historians, and the Society of Historians of East European, Eurasia, and Russian Art and Architecture.
This program has increased international participation in CAA’s activities and expanded international networking and the exchange of ideas both during and after the conference.
The recipients were: Mokammal H. Bhuiyan, Dafne Cruz Porchini, Boureima Tiékoroni Diamitani, Ljerka Dulibić, Georgina Gluzman, Angelo Kakande, Nazar Kozak, Savita Kumari, Nomusa Makhubu, Ana Mannarino, Márton Orosz, Andrey Shabanov, Shao Yiyang, Lize van Robbroeck, and Nóra Veszprémi.
Other Exciting Highlights
CAA published the Code of Best Practices in Fair Use for the Visual Arts, a project funded by the Andrew W. Mellon Foundation with additional funding from the Samuel H. Kress Foundation. This Code of Best Practices provides visual-arts professionals with a set of principles addressing the fair use of copyrighted materials. It describes how fair use can be invoked and implemented when using copyrighted materials in scholarship, teaching, museums, and archives and in the creation of art. The Code’s authors, Patricia Aufderheide and Peter Jaszi of American University, presented the document to conference attendees as part of a panel discussion organized by CAA’s Committee on Intellectual Property.
Board of Directors Update
Results of the Board of Directors election were announced on February 13, 2015, during the Annual Members’ Business Meeting. The new directors are:
- Jawshing Arthur Liou, professor of digital art and the director of the Henry Radford Hope School of Fine Arts at Indiana University, Bloomington
- Chika Okeke-Agulu, associate professor of art history in the Department of Art and Archaeology and Center for African American Studies, Princeton University
- Rachel Weiss, professor of arts administration and policy at the School of the Art Institute of Chicago
- Andrés Mario Zervigón, associate professor of the history of photography and acting chair of the Art History Department at Rutgers, the State University of New Jersey
They will take office at the next board meeting in May 2015.
Jim Hopfensperger of Western Michigan University was voted onto the board for a one-year term.
The CAA board also approved:
- New guidelines developed by the Professional Practices Committee on Fine Art Print Publications for Artists
- A Task Force on Advocacy, which will be chaired by Jacqueline Francis, associate professor at California College of the Arts, to address part-time faculty, diversity, and the interaction of artists and art historians in the public sphere
- A Task Force on the Annual Conference, to be led by Suzanne Blier, Allen Whitehill Clowes Professor of Fine Art at Harvard University, to develop recommendations for changes that will adapt to the changing needs of the field
- The three-year reviews of the Services to Artists Committee, the International Committee, and the Committee on Women in the Arts
New board officers were elected:
- John Richardson, Vice President for External Affairs
- Charles Wright, Vice President for Committees
- Suzanne Blier, Vice President for Annual Conference
- Gail Feigenbaum, Vice President for Publications
- Doralynn Pines, Secretary
Affiliated Societies
CAA would like to welcome two new affiliated societies:
Thank You
Members of CAA’s Board of Directors and staff would like to extend their gratitude to all conference funders and sponsors, attendees, volunteers, and participants; the organization’s committees and award juries; the New York Hilton Midtown staff; the museums and galleries that opened their doors to conference attendees free of charge; and everyone else involved in helping to make the 103rd Annual Conference such a tremendous success!
A warm thanks to the following for their generous support of CAA:
- Alberta College of Art and Design
- Andrew W. Mellon Foundation
- Andy Warhol Foundation for the Visual Arts
- Art in America
- Artstor
- Blick Art Materials
- Bloomsbury
- Getty Foundation
- Institute for Doctoral Studies in Visual Arts
- Knoll
- Laurence King Publishing
- McVicker and Higginbotham
- Museum of Modern Art
- National Committee for the History of Art
- National Endowment for the Arts
- Pearson
- Prestel
- Richmond University
- Samuel H. Kress Foundation
- Terra Foundation for American Art
- Wyeth Foundation for American Art
- Yale University Press
Save the Date
CAA’s 104th Annual Conference will be held in Washington, DC, February 3–6, 2016.
About CAA
The College Art Association is dedicated to providing professional services and resources for artists, art historians, and students in the visual arts. CAA serves as an advocate and a resource for individuals and institutions nationally and internationally by offering forums to discuss the latest developments in the visual arts and art history through its Annual Conference, publications, exhibitions, websites, and other events. CAA focuses on a wide range of issues, including education in the arts, freedom of expression, intellectual-property rights, cultural heritage and preservation, workforce topics in universities and museums, and access to networked information technologies. Representing its members’ professional needs since 1911, CAA is committed to the highest professional and ethical standards of scholarship, creativity, criticism, and teaching.
Solo Exhibitions by Artist Members
posted by CAA — February 22, 2015
Solo Exhibitions by Artist Members
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.
February 2015
Abroad
Lea Kannar-Lichtenberger, Glimpse Beyond, 2014, sandblasted glass panels in PNG Rosewood (artwork © Lea Kannar-Lichtenberger)Lea Kannar-Lichtenberger. Community Gallery, Hazelhurst Regional Gallery and Arts Centre, Gymea, New South Wales, Australia, March 7–17, 2015. Colliding Worlds. Bio-art.
Mid-Atlantic
Lorrie Fredette, ceiling detail of Proper Limits, 2015, porcelain, 8 ft. 1 in. x 17 ft. 10½ in. x 18 ft. 3½ in. (artwork © Lorrie Fredette)Lorrie Fredette. Visual Art Center of New Jersey, Summit, New Jersey, February 8–May 31, 2015. Proper Limits. Installation.
Midwest
Michael Aurbach. Main Galleries, Tarble Arts Center, Eastern Illinois University, Charleston, Illinois, January 16–February 18, 2015. Michael Aurbach Sculpture: Three Decades after Eastern. Sculpture.
Joan Marie Kelly. Richard D. Baron ’64 Art Gallery, Oberlin College, Oberlin, Ohio, November 21, 2014–January 2, 2015. Historical Indian Archetypes of Masculinity and Femininity: The Kotha and The Akhara.
Angela Piehl. North Gallery, Oklahoma State Capitol, Oklahoma City, Oklahoma, December 8, 2014–February 1, 2015. Stillwater. Drawing.
Robert Schatz, Lotus, 2014, jute twine, alphatic resin, kozo paper, and acrylic, 14 x 8 x 19½ in. (artwork © Robert Schatz)Robert Schatz. Sheldon Museum of Art, University of Nebraska, Lincoln, Nebraska, January 16–April 26, 2015. A New Line of Thinking. Sculpture and work on paper.
Northeast
Nayda Collazo-Llorens, installation view of Geo Dis/connect, 2014, wall installation with found maps, 360 framed images (4 x 6 in. each), overall dimensions approximately 5 x 16 ft. (artwork © Nayda Collazo-Llorens)Nayda Collazo-Llorens. LMAKprojects, New York, October 17–December 21, 2014. Dis/connect. Wall installation, drawing, and work on canvas.
Josette Urso. Main Window Project Space, One Main Street, Brooklyn, New York, February 5–March 29, 2015. High Five.
Josette Urso, Jujube, 2015, oil on canvas, 48 x 36 in. (artwork © Josette Urso)Josette Urso. Market Fine Arts, New York, March 19–April 18, 2015. Treehouse. Painting.
West
Martin Gantman. Los Angeles Center for Digital Art, Los Angeles, California, January 8–February 28, 2015. Inconsequential Intersections.
People in the News
posted by CAA — February 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.
February 2015
Academe
Hala AujiHala Auji has been appointed assistant professor of Islamic art in the Department of Fine Arts and Art History at the American University of Beirut in Lebanon.
Museums and Galleries
Denise Allen has left the Frick Collection in New York for the Metropolitan Museum of Art, also in New York, where she is curator of European sculpture and decorative arts.
Elissa Auther, associate professor of contemporary art and director of the art-history and museum-studies program at the University of Colorado in Colorado Springs, has joined the Museum of Arts and Design in New York as the inaugural Wingate Research Curator. She will hold a joint appointment at the Bard Graduate Center, in collaboration with the Center for Craft, Creativity, and Design.
Robert C. Hobbs, Rhoda Thalhimer Endowed Chair at Virginia Commonwealth University in Richmond and visiting professor at Yale University in New Haven, Connecticut, has been inducted as a trustee of the Wadsworth Atheneum Museum of Art in Hartford, Connecticut.
Organizations and Publications
Dena Muller has been appointed executive director of the Cue Art Foundation in New York. Previously she had served the New York Foundation for the Arts as director of new initiatives.