CAA News Today
New and Updated Standards and Guidelines
posted by CAA — November 11, 2013
In line with CAA’s practice to update regularly its Standards and Guidelines for professional practices in the visual arts, the Board of Directors approved one new and four revised guidelines at its meeting on October 27, 2013. The Professional Practices Committee, chaired by Jim Hopfensperger of Western Michigan University, worked with subcommittees over the past several years to revise these guidelines. DeWitt Godfrey, CAA vice president for committees and president-elect of CAA, presented the documents to the CAA Board of Directors for approval.
Guidelines for CAA Interviews
Guidelines for CAA Interviews, an updated version of Etiquette for CAA Interviewers, was developed by the Ad Hoc Committee on Guidelines for CAA Interviews, chaired by Jim Hopfensperger. It was formulated to protect the interests of applicants and of hiring institutions and to provide both with an awareness of their separate responsibilities during the interview process.
Guidelines for Part-Time Professional Employment
The intent of Guidelines for Part-Time Professional Employment is to encourage the fair and equitable treatment of all part-time employees in the visual arts, to advocate for those who may be very modestly compensated for their work, and to ensure that part-time employees are not hired to replace and/or diminish the number of full-time employees at an institution. Thomas Berding of Michigan State University and John Richardson of Wayne State University co-chaired the ad hoc committee that developed these guidelines.
Guidelines for Presenting Works in Digital Format
A new document, Guidelines for Presenting Works in Digital Format, was developed to assist visual-arts professionals with the presentation and review of artistic works using digital technologies. These guidelines aim to provide individuals and institutions with recommendations for formatting, handling, screening, and exhibiting time-based works and still images using digital technology. Dana Clancy of Boston University chaired the task force to create these new guidelines.
Statement Concerning the Deaccession of Works of Art
Developed by the Museum Committee, chaired by N. Elizabeth Schlatter of the University of Richmond, the Statement Concerning the Deaccession of Works of Art addresses the deaccession of artworks of from the collections of museums or other institutions or entities that function as public trusts and suggests best practices for these public trusts when they consider removing works from their collections.
Standards for Professional Placement
Standards for Professional Placement, last updated in 2012, was developed to protect the interests of both applicants and hiring institutions during the placement process and to allow both to know their separate responsibilities. Jim Hopfensperger chaired the ad hoc committee that updated these standards.
Committee on Women in the Arts Picks for November 2013
posted by CAA — November 10, 2013
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.
November 2013
Wangechi Mutu, still from The End of eating Everything, 2013, animated video with color and sound, 8 min. Commissioned by the Nasher Museum of Art at Duke University, Durham, North Carolina (artwork © Wangechi Mutu)
Wangechi Mutu: A Fantastic Journey
Brooklyn Museum
200 Eastern Parkway, Brooklyn, NY 11238
Born in Nairobi, Kenya, Wangechi Mutu scrutinizes globalization by combining found materials, magazine cutouts, sculpture, and painted imagery. Sampling such diverse sources as African traditions, international politics, the fashion industry, pornography, and science fiction, her work explores gender, race, war, colonialism, global consumption, and the exoticization of the black female body. Mutu is best known for spectacular and provocative collages depicting female figures—part human, animal, plant, and machine—in fantastical landscapes that are simultaneously unnerving and alluring, defying easy categorization and identification. Bringing her interconnected ecosystems to life for this exhibition through sculptural installations and videos, Mutu encourages audiences to consider these mythical worlds as places for cultural, psychological, and sociopolitical exploration and transformation.
Organized by the Nasher Museum of Art at Duke University by Trevor Schoonmaker, chief curator and Patsy R. and Raymond D. Nasher Curator of Contemporary Art and coordinated by Saisha Grayson, assistant curator at the Elizabeth A. Sackler Center for Feminist Art, for its Brooklyn Museum version, Wangechi Mutu: A Fantastic Journey is the first survey in the United States of this internationally renowned, Brooklyn-based artist. Spanning from the mid-1990s to the present, the exhibition unites more than fifty pieces, including Mutu’s signature large-scale collages as well as video works, never-before-seen sketchbook drawings, a site-specific wall drawing, and sculptural installations.
Sarah Lucas
SITUATION Absolute Beach Man Rubble
Whitechapel Gallery
77-82 Whitechapel High Street, London E1 7QX England
October 2–December 15, 2013
The photographer, installation artist, and sculptor Sarah Lucas is one of the most important figures of the YBA generation that emerged in London in 1988 through Freeze and gained prominence in the early 1990s with her first two solo shows, The Whole Joke and Penis Nailed to a Board. Uniting works that span two decades, Situation Absolute Beach Man Rubble surveys Lucas’s multifaceted and multimedia take on the body—“the bawdy euphemisms, repressed truths, erotic delights, and sculptural possibilities of the sexual body” that lie at the heart of her work’s exploration of the erotic and abject, mediated and repressed body—and ranges from the angry sensationalism that underpins the gendered and classed criticality of her installations from the early 1990s to the masterful pseudomaturity of the hybrid sex contours of her latest, soft, or metal sculptures.
The show takes the viewer from Lucas’s early forays “into the salacious perversities of British tabloid journalism to the London premiere of her sinuous, light-reflecting bronze where intertwined limbs, breasts, and phalli transform the abject into a dazzling celebration of polymorphous sexuality,” while reviewers agree that it pays fair attention to the intellectual rigor, visual strikingness, and complex art-historical references of Lucas’s work, without compromising the uneasy thrill of its revelations. Deemed “not recommended for children” for its sexually explicit material, Lucas’s uncanny and humorous defamiliarization of the body perhaps pose more problems for adults than for children, as wittingly put in a review of the show in the Guardian.
Lucas’s early iconic works, in which cloths, furniture, food, and language are used as stand-ins for the body, and her found objects, such as the ubiquitous toilet, echo the Duchampian readymade in their Rabelaisian sourcing of urban experience are featured in the lower galleries of the Whitechapel Gallery. The upper galleries present two environments: a color-saturated chamber featuring acephalous male nudes against a red backdrop, where masculinity is mocked through a sequence of edible phallic stand-in, despite its totemic scale; and a sculptural landscape of shiny bronze or polymorphous conglomerations of soft limbs or breasts and genitalia. Also running through this exhibition is a new series of “plinths” made from crushed cars; as well as screens and benches made from breeze blocks framed within. The artist’s face reappears throughout the exhibition “as an all-seeing presence, frankly returning the viewer’s stare, or lost in existential reflection.” The space behind Gallery 1 presents monochrome portraits of Lucas by the artist Julian Simmons, taken from the couple’s recent publication TITTIPUSSIDAD, and portraits of Lucas at her base in Suffolk taken by the artist Juergen Teller.
Installation view of Anita of New York at Suzanne Geiss Company (photograph by Adam Reich)
Anita Steckel
Anita of New York
Suzanne Geiss Company
6 Grand Street, New York, NY 10013
November 2–December 7, 2013
Anita of New York celebrates the work of the recently deceased and largely understudied feminist New York artist Anita Steckel (1930–2012). Bringing together a selection of works from two series, The Giant Woman (1970–73) and New York Landscape (1970–80), the exhibition not only illustrates the changing montage principles of her feminist art practice but also captures the centrality of New York in her feminist critique of patriarchy. Allowing Steckel to idiosyncratically juxtapose references to art and politics “with a mix of sexuality, violence, and humor”—to paraphrase the curator of the show Rachel Middleman from a recent article on Steckel in Woman’s Art Journal—montage became Steckel’s key means “to push the boundaries of acceptable imagery and decorum in art” and to speak radically about art, race, gender, and sexuality.
Steckel first became known for her photomontage series Mom art, which mocked Pop art by comprising historic photographs and reproductions of famous works of art on which painted additions turned the found images into social critiques of racism, war, and sexual inequality. In the early 1970s she joined the feminist movement and in 1973, in response to an attempted censorship of her solo exhibition The Feminist Art of Sexual Politics at Rockland Community College’s art gallery, she founded (along with artists such as Louise Bourgeois and Hannah Wilke) the Fight Censorship Group, which protested censorship and advocated the acceptance of women’s erotic art into museums. “We believe sexual subject matter should be removed from the ‘closet’ of the fine arts,” Steckel wrote when the members of the Group came first together. “We believe sexual subject matter includes many things: political statements, humor, erotica, sociological and psychological, statements—as well as purely sensual or esthetic art concerns—and of course—the primitive, mysterious reasons none of us know.” In fact, the exhibition at Suzanne Geiss Company includes many of the “obscene” objects that a Rockland County legislator had attempted to censor, fueling Steckel’s defense of women’s right to represent the sexual body, both for critical and pleasurable ends, further shaping her work and leading to the founding of the Fight Censorship Group.
As described in the press release: Steckel’s large-scale series New York Landscape consist[s] of collage paintings that fuse imagery inspired by the human, art-historical, and urban bodies. Supine female figures, erect phalluses, dollar bills, the Mona Lisa, and other massive cultural symbols are inserted into the skyline. They sit on skyscrapers, make love, even battle in a humorous take on the city’s fraught, psychosexual sense of identity.” Superimposing her own face onto gigantic female nudes that subversively colonize New York, The Giant Woman series makes more palpable how Steckel raised the personal into political and its quasi-Surrealist empowering poetics.
Pauline Boudry and Renate Lorenz / Her Noise Archive
Patriarchal Poetry / Slow Runner: Her Noise Archive II
Badischer Kunstverein
Waldstraße 3, 76133 Karlsruhe, Germany
September 27–November 24, 2013
Curated by Anja Casser and Nadjia Quante and titled after a Gertrude Stein quote that highlights the association of revolutionizing queer politics and aesthetics, Patriarchal Poetry is the first institutional solo exhibition of Pauline Boudry and Renate Lorenz in Germany. Combining the debut of their film To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation (2013) with the film installations Toxic (2012) and Salomania (2009), the show explores how the two artists investigate the emergence of photography and film against the backdrop of colonial history and the invention of body norms, the diverse ways in which their work challenge filmic illusion, and how their new film pushes boundaries, asking “whether and how changing structures engenders queer relations, whether musical and filmic forms can become revolutionary?” For Valerie Solanas and Marilyn Monroe is based on the eponymous 1970 score of the avant-garde composer Pauline Oliveros, which itself influenced by Solanas’s radical feminist SCUM Manifesto affords the musicians an equal role, rejecting the hierarchical structures of traditional music.
Patriarchal Poetry is accompanied by a concurrent exhibition, Slow Runner: Her Noise Archive II, that brings together new and existing content from the Her Noise Archive and interlaces references to Boudry and Renate’s Valerie Solanas and Marilyn Monroe and the pioneering composer Pauline Oliveros’s eponymous 1970 score. During the 1970s Oliveros’s feminist philosophies of music not only radically challenged the patriarchal Western musical canon, but also paralleled “women’s music” of the feminist movement by interrogating the notion of “performer,” “audience,” and the very meanings and forms of music itself. These rich tensions are explored through a series of contemporaneous works on display from Barbara Hammer, Lis Rhodes, Robert Ashley, and others, while a new series of posters by the New York–based artist Emma Hedditch creates a spatial manifestation of fragments from these histories and the wider archive.
This display of works is accompanied by a selection from the Her Noise Archive, a multiannual research project and study collection initially founded in 2001 by Lina Dzuverovic and Anne Hilde Neset, which includes records, CDs, tapes, moving image, books, catalogues, magazines, fanzines, and exclusive interview material by artists who work with sound and experimental music such as Kim Gordon, Christina Kubisch, and Kevin Blechdom. The archive—accessible for the public at CRiSAP, London College of Communication—is a physical manifestation of the desire to draw lines of affinity between different moments of the avant-garde, from the radical contemporary composition of Oliveros to No Wave, Riot Grrrl, and other more contemporary experimentations in sound and feminism.
The museum will host an artist’s talk with Boudry and Lorenz on Saturday, November 23, at 7:00 PM, followed by performances by Antonia Baehr and William Wheeler (Scores for Laughter and Without You I’m Nothing) at 8:30 PM.
Rembrandt van Rijn, A Lady and Gentleman in Black, 1633, oil on canvas, 131.6 x 109 cm (artwork in the public domain)
Sophie Calle: Last Seen
Isabella Stewart Gardner Museum
280 The Fenway, Boston, MA 02115
October 24, 2013–March 3, 2014
Sophie Calle: Last Seen brings together fourteen photographic and text-based works from the series Last Seen (1991) and its recent pendant What Do You See? (2012). The exhibition is a potent contemplation on absence, memory, and the effect of art, typical of Calle’s scripto-visual outsourcing of it, inspired by the famous theft of thirteen works from the Isabella Stewart Gardner Museum.
In 1990, during an exhibition of Calle’s work at the Institute of Contemporary Art, Boston, the artist was interviewed for a Parkett magazine article in front of Jan Vermeer’s The Concert (1658–60), one of her favorite paintings. Later that March, the painting became one of the thirteen works stolen from the museum. The half-joking suggestion that Calle might have been responsible for the theft inspired her to create Last Seen. Standing in front of the empty spaces on the museum walls on which works were once hung, Calle asked curators, guards, conservators, and other museum staff members what they remembered of the missing pieces. With the text from the interviews and the photographic images she eventually created a visual meditation on absence and memory, as well as a reflection on the emotional power works of art hold over their viewers.
In 2012, Calle revisited Last Seen on the museum’s invitation. In What Do You See? Calle once again questioned people in the museum’s Dutch room, yet in front of the empty frames that once held the absent works that had been reinstalled in the galleries, literally framing the emptiness. But this time she did not mention the missing paintings but asked each viewer to respond to what they saw before them.
Ana Mendieta: Traces
Hayward Gallery
Southbank Centre, Belvedere Road, London SE1 8XX, England, United Kingdom
September 24–December 15, 2013
Ana Mendieta: Traces is the first retrospective survey in the United Kingdom of the work of a Cuban American artist best known for her intimate, ephemeral, performance-based Siluetas, in which her body merges with the natural world, often engaging elemental materials such as earth, water, fire, and blood, evoking goddess archetypes and exploring a mythic relationship with nature while performing cathartic rituals that evoking both Afro-Cuban and Catholic traditions helped her perform a reliving exorcism of the trauma of her early exile from Cuba. Chronologically arranged films, sculptures, photographs, drawings, personal writings, and notebooks that span Mendieta’s entire career reveal different, often neglected, facets of her practice while highlighting her work’s radical contribution to feminist and Land art. An extensive research room with hundreds of photographic slides that were not developed during Mendieta’s short life provides unique access to her signature “earth-body” actions, her Siluetas, while archival material sheds new light on the way the artist worked and documented her artistic practice.
Amy Sillman: one lump or two
Institute of Contemporary Art, Boston
100 Northern Avenue, Boston, MA 02210
October 3, 2013–January 5, 2014
Featuring more than ninety works, including drawings, paintings, zines, and recent forays into animated film, one lump or two is the first museum retrospective of work by Amy Sillman, a painter whose self-proclaimed “skeptical” devotion to painting and whose fine interlacing of abstraction and figuration has contributed to painting’s renewed vitality in the New York scene since the 1990s. The exhibition unites early works that, characterized by cartoon lines and pastel or acid hues, “move effortlessly from figure to landscape, playfully and often humorously exploring problems of physical and emotional scale with observations that are both wry and revealing,” with her mid-2000s series couples—which were drawn from life in pencil, ink, and gouache and translated into paintings from memory with bold brushstrokes and abstract blocks of color—that have been claimed as reinvigorating forms of twenty-first-century Abstract Expressionism, as put in the press release. Also included are works that seem to question the role of painting in the age of reproduction and mass media quite idiosyncratically, whether employing the diagram or resorting to iPhone drawing, then turned into movies that “bring back the neurotic figures of her early images while delving further into the current roles of abstraction, color, and the diagram.”
Dayanita Singh: Go Away Closer
Hayward Gallery
Southbank Centre, Belvedere Road, London SE1 8XX, England, United Kingdom
October 8–December 15, 2013
Go Away Closer is the first major retrospective in the United Kingdom of work by Dayanita Singh, one of today’s foremost photographers who nonetheless uses photography as a starting point rather than an end. The exhibition presents examples from the past twenty-five years as well as her portable museums, a major new body of work that has developed from her experiments in book making. These large wooden structures, which the artist calls “photo-architectures,” can be placed and opened in various configurations, each holding 70 to 140 photographs. Allowing images to be endlessly displayed, sequenced, edited, and archived within the structures, as well as stories to be fashioned in different ways, these objects expand photography into the realm of not only sculpture and architecture but also of fiction and poetry. The show also includes a recent video titled Mona and Myself, Singh’s first “moving still.”
Dear Art
Calvert 22 Gallery
22 Calvert Avenue, London E2 7JP, England, United Kingdom
September 29–December 8, 2013
Calvert 22 presents Dear Art, a new project by What, How & for Whom (WHW) that is titled after Mladen Stilinovic’s 1999 letter to art, provocatively questions the standing of art in the contemporary world, its reception and distribution value. WHW is a critically acclaimed yet radical all-women curatorial collective from Zagreb, Croatia, with a decade of international curatorial practice behind them, including the curatorship of the 2009 Istanbul Biennial. Dear Art is the group’s first exhibition in the United Kingdom.
Dorothea Rockburne
Drawing Which Makes Itself
Museum of Modern Art
11 West 53rd Street, New York, NY 10019
September 21, 2013–January 20, 2014
Drawing Which Makes Itself is a great opportunity to familiarize oneself with Dorothea Rockburne’s drawing practice—her mathematical and structural precision as well as the material sensibility of her process—and a sad reminder that this female survivor of the Black Mountain College remains unduly understudied and invisible, while still in life. Focusing on the artist’s groundbreaking project Drawing Which Makes Itself (1972–73), the exhibition foregrounds the question that shapes her practice (How drawing could be of itself and not about something else?) and highlights the ideas that Rockburne has pursued throughout her career.
This includes the “terrific importance” of paper for her as a metaphysical object, as an active material whose inherent qualities determine the form of the artwork, as manifested with Scalar (1971)—with its planed chipboard and paper stained with crude oil—and in various carbon-paper drawings, some of which are exhibited for the first time. Her Golden Section Paintings and the works on paper that followed refer to the mathematical ratio used by artists and architects since antiquity to produce shapes of harmonious proportions, while echoing the teachings of the mathematician Max Dehn, whose decipherment of the underlying geometries in nature and art affected her profoundly. The exhibition includes examples of Rockburne’s later work, including recent watercolors, that continue her exploration of these principles in nature and specifically in the motion of planets.
Margaret Murphy, Tell Your Son to Behave, 2013, acrylic and ink on fabric mounted on wood, 14 x 14 in. (artwork © Margaret Murphy)
Margaret Murphy
Toile News Project
Gallery Aferro
73 Market Street, Newark, NJ 07102
November 16–December 14, 2013
Gallery Aferro presents new work by Margaret Murphy that includes individual paintings, a wallpaper installation, and a dress. Murphy is known for figurative paintings whose protagonists are painted after figurines against decorative backgrounds that often interlace the opacity of enamel with the transparency of watercolor in colorful and sentimental compositions that cast timely commentaries on feminine experience and consumerism. In her new paintings, Murphy departs from her resort to figurines, turning instead on the inevitable and often violent news-image blitz of Facebook and Google, substituting sections of toile fabric designs with found images of violent or silly actualities drawn with acrylic or silkscreen. While her new work makes a comment about the latest forms of digital-image colonization of our private lives and imaginary, reminiscent of historic Pop’s commentaries, a continuity of material and thematic concerns is witnessed in Murphy’s reinvented practice that often juxtaposes historic sentimentalized views of life with current images of local or global issues, such as women’s rights protests from around the world or the Boston Marathon bombing event, as well as decorative abstraction and figuration.
Mary Beth Edelson
Collaborative 1971–1993
Accola Griefen Gallery
547 West 27th Street, No. 634, New York NY 10001
October 19–November 23, 2013
This exhibition is the first to address the more than twenty-five collaborative performance rituals and community-based workshops produced by Mary Beth Edelson starting as early as 1969. These pioneering participatory works were presented at the Corcoran Gallery, A.I.R. Gallery, the Albright-Knox Gallery, the Malmö Konstmuseum, and Franklin Furnace, as well as at universities across the United States and abroad. In planning and presenting these programs Edelson collaborated with organizations such as A.I.R Gallery, with the utopian community of New Harmony, Indiana, and with artists from the Women’s Building in Los Angeles.
The collaborations are represented by drawings and a chronology of photo documentation as well as a study area with scriptbooks, texts by and about the artist, and other documents. Collaborative also includes two Story Gathering Boxes, works that Edelson has created since 1972 and constitute an archive of participants’ personal thoughts. The box Gender Parity asks “What did your mother teach you about women?” and “What did your mother teachyou about men?” Participants may view previous handwritten responses and respond to new questions posed by the artist.
Affiliated Society News for November 2013
posted by CAA — November 09, 2013
Appraisers Association of America
The Appraisers Association of America (AAA) has published Appraising Art: The Definitive Guide to Appraising the Fine and Decorative Arts, a 450-page, color-illustrated book that covers all aspects of appraising the fine and decorative arts, including connoisseurship, the marketplace, legal considerations, and more. Edited by the late Wendell Garret along with Helaine W. Fendelman, David A. Gallager, and Jane C. H. Jacob, Appraising Art will serve as an excellent resource for professionals in the arts, legal, insurance, and financial communities, as well as for private and corporate collectors. The book addresses nearly ninety topics, such as: the Appraisal Procedure; Comparables; The Effect of Regional Concerns on Value; Conservation Issues; Due Diligence and Authenticity; Appraising Works of Art for Tax Purposes; and Resolving Art Disputes. Among the fifty connoisseurship topics are: Old Master Paintings; American Paintings and Drawings; Contemporary Art; Photography; Arts and Crafts Furniture; Pottery and Porcelain; Gems and Jewelry; Historic Documents; and Entertainment Memorabilia. Appraising Art was designed by Patrick Seymour with Elena Penny and Tsang Seymour. The consulting editor was Margaret L.Kaplan, editor-at-large for Abrams Books. The Avery Group at Shapco Printing of Minneapolis, Minnesota, produced the book.
Art Historians of Southern California
In honor of the fiftieth anniversary of the Fowler Museum at the University of California, Los Angeles (UCLA), the Art Historians of Southern California (AHSC) held its 2013 annual symposium at the museum on October 19, 2013. Longstanding partnerships with the schools of anthropology, humanities, and especially art history were integral to the Fowler’s dynamic collection of world art. This partnership provided a context for discussion considering the much-pondered valuation of the humanities. The Fowler’s development exemplified the expansion of art history in Donald Preziosi and Claire Farago’s Grasping the World: The Idea of the Museum (2004). A panel discussion, “The Art Academy: The Museum, Art History, and the Art Association,” addressed the classification of cultural objects within “world art” genres and asked the question “Can a humanities perspective be differentiated from scientific models?” The panel, chaired by Jane Chin Davidson of California State University, San Bernardino, and Sandra Esslinger of Mt. San Antonio College, included the following participants: Donald Preziosi, UCLA; Claire Farago, University of Colorado, Boulder; Selma Holo, University of Southern California; Lothar Von Falkenhausen, UCLA; and Gemma Rodrigues, Fowler Museum.
Association of Academic Museum and Galleries
The Association of Academic Museum and Galleries (AAMG) invites you to attend the AAMG/Kellogg Academic Museum and Gallery Leadership Seminar Northwestern University’s Kellogg School Center for Nonprofit Management from Sunday evening, June 22, through Friday afternoon, June 27, 2014. Piloted in 2012, the seminar has two main goals: to have an impact on the professional lives of the participating museum professionals and, though them, on the field as a whole. Dynamic, engaging, highly interactive by design and interspersed with team and individual problem-solving exercises in leadership and management, this intensive five-day certificate program will allow attendees to learn from one another and be guided and inspired by nationally recognized scholars drawn principally from Kellogg’s renowned faculty. Email your expression of interest to leadershipseminar@aamg-us.org to receive updated information about the program.
AAMG is excited to welcome our new Western regional representative: Meg Linton, director of galleries and exhibitions of the Ben Maltz Gallery at Otis College of Art and Design in Los Angeles, California.
Association of Historians of Nineteenth-Century Art
The Association of Historians of Nineteenth-Century Art (AHNCA) will sponsor two sessions, hold its annual business meeting, and conduct a special offsite visit at the CAA Annual Conference in Chicago in February 2014. Please visit AHNCA website and look under “AHNCA at CAA 2014” for the program details.
Peter Trippi, president of AHNCA, has organized a truly unique offsite visit for Friday, February 14, 2014. Both National Historic Landmarks, the American Arts and Crafts Second Presbyterian Church and the Glessner House Museum, designed by Henry Hobson Richardson, are located within two miles of the conference hotel (the Hilton Chicago). The total cost is $14 per person, payable on the day of the visits. If you would like to participate in this outing, please email Trippi before January 15, 2014, to confirm.
Foundations in Art: Theory and Education
Foundations in Art: Theory and Education (FATE) will host two events this year at the CAA Annual Conference in Chicago. The affiliated-society session is “A Hybrid Practice: Getting Rid of Digital Media Courses,” and FATE will use its business meeting to host a regional conference, “Project Share.” The projects that are presented specifically use digital tools in the classroom and will be related to the affiliated-society session topic.
The presenters on “A Hybrid Practice” are: Elissa Armstrong, assistant professor and director of art foundation at Virginia Commonwealth University; Jenna Frye, coordinator of electronic media and culture at Maryland Institute College of Art; Mark Schatz, assistant professor and foundations coordinator at Kent State University; and Chris Yates, associate professor and director of foundation studies at Columbus College of Art and Design.
The “Project Share” presenters are: Heather Deyling, professor of foundation studies at the Savannah College of Art and Design; David Fobes, instructor in foundations at San Diego State University; Deborah Hall, associate professor in studio art at Skidmore College; Norberto Gomez, artist and independent scholar; and Harry St.Ours, professor of communication arts at Montgomery College.
Historians of Netherlandish Art
The next formal deadline for submitting manuscripts to Journal of Historians of Netherlandish Art, the peer-reviewed, open-access ejournal published by the Historians of Netherlandish Art (HNA), is March 1, 2014. In addition to longer articles, the journal now welcomes shorter notes on archival discoveries, iconographical issues, technical studies, and rediscovered works. For submission guidelines, see www.jhna.org or contact Alison Kettering (aketteri@jhna.org), senior editor, for more information.
HNA will hold its next conference June 5–7, 2014, in Boston, Massachusetts. The event will be held in cooperation with the American Association for Netherlandic Studies (AANS) and involve sessions and workshops with focus on Netherlandish art from 1350 to 1750. For submissions on art from 1750 to the present, please contact Henry Luttikhuizen, president of AANS. For the call for papers and more information, visit http://www.hnanews.org/hna/conferences/Call-for-Papers-Boston-2014.pdf.
International Sculpture Center
International Sculpture Center (ISC) has launched Search Feature for Web Special. Since April 2007, a new article not featured in Sculpture magazine has been posted in Web Special in the Online Member Area each month. Topics are aimed at assisting artists and include resource links, when applicable. With the new search feature, members can now find articles posted in Web Special by keywords, tags, or authors. Take a look at the comprehensive information and perspectives offered in Web Special today!
Each year ISC presents an award competition to its member colleges and universities as a means of supporting, encouraging, and recognizing the work of young sculptors and their supporting schools’ faculty and art program. The student-award winners participate in an exhibition at Grounds for Sculpture and in a traveling exhibition hosted by arts organizations across the country. Their work is also featured in Sculpture. Each winner receives a one-year ISC membership; all winners are eligible to apply for a fully sponsored residency to study in Switzerland. To nominate students for this competition, the nominees’ university must first be an ISC university-level member. University memberships cost $200 for institutions in the United States, Canada, and Mexico ($220 for international universities) and include a number of benefits. Students who are interested should talk to their professors about getting involved. To find out more about the program, please visit www.sculpture.org/StudentAwards/2014 or email studentawards@sculpture.org. Nomination deadline: January 1, 2014; University membership form due: March 17, 2014; online student nomination form deadline: March 24, 2014; online student submission form due: April 14, 2014.
Italian Art Society
The Italian Art Society (IAS) seeks proposals for papers for the annual IAS/Kress Lecture Series in Italy, which will take place in Pisa on May 29 or June 16, 2014 (deadline: January 4, 2014). The distinguished scholar selected will speak on a topic related to art of any period from Pisa or Tuscany and will receive an honorarium and lecture allowance.
At the 2014 CAA Annual Conference, IAS invites members to attend its breakfast business meeting at 7:30 AM on February 14, 2014, as well as its sessions on the same day: “Periodization Anxiety in Italian Art: Renaissance, Baroque, or Early Modern” at 9:30 AM and “‘Futuro Anteriore’: Cultural Self-Appropriation as Catalyst in the Art of Italy” at 12:30 PM.
The Program Committee is looking for submissions for IAS-sponsored sessions at the Society for Architectural Historians (Chicago, April 2015; deadline to IAS: December 1, 2014); and the Sixteenth Century Society and Conference (New Orleans, October 2014; deadline to IAS: March 2014). Like IAS on Facebook, visit the website and popular Italian art blog, and follow the IAS at Academia.edu and on Twitter. All who are interested in Italian art history are welcomed to join IAS.
National Council of Arts Administrators
The forty-first annual meeting of the National Council of Arts Administrators (NCAA) convened September 25–28, 2013, in Richmond, Virginia. The organization owes a debt of gratitude to Richard Roth, Joe Seipel, and Kelly Kerr of VCUarts for organizing a first-rate affair. Speakers included Adam Gopnik, essayist and staff writer for the New Yorker; Jessica Stockholder, sculptor and installation artist; Ben Katchor, cartoonist and MacArthur fellow; and Richard Shiff, Director, director of the Center for the Study of Modernism at the University of Texas at Austin.
Three new board members were elected at the meeting: Leslie Bellavance (Alfred University), Tom Berding (Michigan State University), and Nan Goggin (University of Illinois). They join returning directors Steve Bliss (Savannah College of Art and Design), Cora Lynn Deibler (University of Connecticut ), Andrea Eis (Oakland University, Treasurer), Amy Hauft (University of Texas at Austin, president), Jim Hopfensperger (Western Michigan University, past president), Sergio Soave (Ohio State University), Lydia Thompson (Texas Tech University), and Mel Ziegler (Vanderbilt University).
Activities at CAA’s 2014 Annual Conference in Chicago will include the annual NCAA reception (Thursday, February 13, 5:00–8:00 PM); an affiliated-society session, “Hot Problems/Cool Solutions in Arts Leadership”; and a fast-paced series of five-minute presentations on leadership (Friday, February 14, 5:30–7:00 PM). NCAA enthusiastically welcomes new members, current members, and all interested parties to attend its events.
Public Art Dialogue
Public Art Dialogue (PAD) has several special thematic issues of its scholarly journal, Public Art Dialogue, in progress. “Perspectives on Relational Art,” guest edited by Eli Robb, is in production. The call for submissions for “The Mural Issue,” which will be guest edited by Sally Webster and Sarah Schrank, just closed. There are two current calls for submission. The first is for an “Open Issue” (Fall 2014), to be coedited by Cher Krause Knight and Harriet F. Senie; the submission deadline is March 1, 2014. The second will be on “Digital Art” and guest edited by John Craig Freeman and Mimi Sheller; the submission deadline is September 15, 2014. PAD is published by Taylor and Francis, and for more information, consult the journal’s homepage, which provides detailed descriptions of the forthcoming journal and instructions for submissions. The fall 2013 PAD Newsletter features an interview with Senie and an article on Banksy.
Society for Photographic Education
Registration is now open for the fifty-first national conference of the Society for Photographic Education (SPE), titled “Collaborative Exchanges: Photography in Dialogue” and taking place March 6–9, 2014, in Baltimore, Maryland. Join 1,600 artists, educators, and photographic professionals for programming and dialogue that will fuel your creativity. Explore an exhibits fair featuring over seventy vendors showing the latest equipment, processes, publications, and schools with photo-related programs. Participate in one-on-one portfolio critiques and informal portfolio sharing and take advantage of student volunteer opportunities for reduced admission. Other conference highlights include a print raffle, silent auction, film screenings, exhibitions, tours, receptions, and a dance party. Preview the conference schedule and register online.
Society of Architectural Historians
The Society of Architectural Historians (SAH) seeks session proposals for the sixty-eighth annual conference, taking place April 15–19, 2015, in Chicago, Illinois. Celebrating the seventy-fifth anniversary of its founding, SAH will offer six concurrent paper sessions, in six modules over two days, for a total of thirty-six paper sessions. The society invites both members and nonmembers to chair a session. Since the principal purpose of the conference is to inform attendees of the general state of research in architectural history and related disciplines, session proposals covering every period in the history of architecture and all aspects of the built environment, including landscape and urban history, are encouraged. Session proposals are to be submitted via email by January 15, 2014, to Ken Tadashi Oshima, general chair of the SAH sixty-eighth annual conference, with a cc to Kathy Sturm, SAH director of programs.
Society of Historians of East European, Eurasian, and Russian Art and Architecture
The Society of Historians of East European, Eurasian, and Russian Art and Architecture (SHERA) has planned an active schedule at the annual convention of the Association for Slavic, East European, and Eurasian Studies (ASEEES), to be held November 21–24, 2013, in Boston, Massachusetts. The society will host nine sessions ranging from the imperial era to the present day, including panels that focus on textiles, performance art, artist associations, and collectives, as well as sessions devoted to Russia in the 1890s and Prague in the 1920s. Please join SHERA for its business meeting, scheduled for Friday, November 22, 3:00–4:45 PM.
Since the launch of its website in August 2013, SHERA’s membership has nearly doubled. Members can contribute items to the news blog by sending them to SHERA.artarchitecture@gmail.com. SHERA is pleased to welcome the Museum of Russian Art in Minneapolis, Minnesota, as a new institutional member.
Oppose Devastating Cuts to the National Endowment for the Humanities!
posted by CAA — November 03, 2013
The National Humanities Alliance sent the following email on October 30, 2013.
Oppose Devastating Cuts to the National Endowment for the Humanities!
Now that the government shutdown is over and Congress is beginning new budget negotiations, the proposed 49 percent cut to the National Endowment for the Humanities is back on the table. Just last week, one of the budget negotiators invoked the cut as he questioned the appropriateness of NEH grants. You can make sure that his are not the last words that our elected officials hear on the value of NEH by sending a message today.
We need you, your friends, and your colleagues to send messages in support of renewed investments in the humanities. Thousands of messages from advocates helped to put the proposed cuts on hold this summer, and by sending this new message, you can oppose the cuts and help restore NEH’s critical support for the humanities.
Lend your name to the effort by sending a message to your elected representatives.
Click here to send a message.Help us reach more advocates by sharing this message with your friends.
Background
In its FY 2014 budget resolution, the House of Representatives Budget Committee called for the complete elimination of funding for the National Endowment for the Humanities, writing that the programs funded by NEH “…go beyond the core mission of the federal government, and they are generally enjoyed by people of higher-income levels, making them a wealth transfer from poorer to wealthier citizens.” The House subcommittee that oversees the NEH’s appropriation has followed through on the spirit of this resolution by approving a 49 percent cut to the agency’s budget.
Funding for NEH is already at just 29 percent of its peak and 62 percent of its average.
After years of deep cuts, the Obama Administration has proposed restoring some of NEH’s capacity with a 12 percent increase in funding.
Click here to send a message.
Share with your friends!
Brooklyn Museum Exhibition Catalogue Wins the Inaugural Alice Award
posted by CAA — November 01, 2013
Furthermore and Joan K. Davidson, the grants in publishing program of the J. M. Kaplan Fund is pleased to present the inaugural Alice award to the Brooklyn Museum for Youth and Beauty Art of the American Twenties, edited by Teresa A. Carbone and published by Skira Rizzoli Publishing. Awarded in honor of Alice M. Kaplan, the prize recognizes this book’s fresh approach to and keen analysis of its subject and for its general excellence. The Alice was presented to the Brooklyn Museum on October 29, 2013, at the Morgan Library and Museum.
The jury comprised: Paula Cooper of Paula Cooper Gallery; William M. Griswold, director of the Morgan Library and Museum; Gianfranco Monacelli, publisher of Monacelli Press; Jock Reynolds, director of the Yale University Art Gallery; and Massimo Vignelli of Vignelli Associates.
The Alice was established in 2013 by Joan K. Davidson, president of Furthermore, to honor her mother, Alice Manheim Kaplan. Alice loved and collected the illustrated book as a work of art in itself and an essential document of a civilized society. This new award is intended to buttress the kind of slow reading movement that recognizes and cherishes the lasting values of the well-made illustrated book, and the special sense of intimacy it affords. In the fast-changing publishing universe, with its ever rising costs, the continuing life of high-quality printed books will depend upon the determined commitment of writers, editors, designers, and publishers, and their friends. The Alice is dedicated to that heroic commitment and the accomplished books that result from it.
The launching of the award also marks Furthermore’s record so far of financial assistance to some one thousand publications, for a total of $5 million. The Alice carries an award of $25,000. Each year a jury of leaders in publishing and the arts will select the Alice book from the hundreds of eligible titles that have been honored with a grant from Furthermore.
Furthermore grants in publishing is a program of the J. M. Kaplan Fund that supports the publication of significant visual books—and will help to keep them coming in the years ahead. For information on the Alice, please contact Elizabeth Howard at 917-692-8588.
New NHA Memo to Members
posted by CAA — October 28, 2013
The executive director of the National Humanities Alliance (NHA) sent the following email on October 25, 2013.
New NHA Memo to Members
Dear NHA Member Representatives,
I am writing with the first edition of NHA’s new Memo to Members. Please click here for:
- a legislative update that includes a discussion of Senator Sessions’ recent letter to Acting NEH Chair Carole Watson;
- follow-up to the Commission on the Humanities and Social Science’s The Heart of the Matter;
- resources for advocates;
- studies, reports, and initiatives pertaining to the humanities;
- a compendium of humanities news articles and essays;
- federal grant opportunities; and
- upcoming humanities policy and advocacy events.
We hope that this monthly memo will provide you with tools to aid your advocacy efforts and help you and your organization stay abreast of policy and advocacy news. If you have information to to suggest for a future edition, please contact Erin Mosley at emosley@nhalliance.org.
Click here to download the briefing in pdf.
Solo Exhibitions by Artist Members
posted by CAA — October 22, 2013
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.
October 2013
Abroad
Patricia Cronin. Musei Capitolini, Centrale Montemartini Museo, Rome, Italy, October 9–November 20, 2013. Le Macchine, Gli Dei e I Fantasmi (Machines, Gods and Ghosts).
David Holt, Wigs, 2013, acrylic on canvas, 16 x 14 in. (artwork © David Holt)David Holt. Loop Gallery, Toronto, Ontario, Canada, September 14–October 6, 2013. Illustrated History. Painting.
Hee Sook Lee-Niinioja, installation view of Goethe in Me (artwork © Hee Sook Lee-Niinioja)Hee Sook Lee-Niinioja. Fallesmanni Exhibition Hall, Loppi, Finland, July 8–31, 2013. Goethe in Me. Installation and painting.
Firoz Mahmud. Goethe Institute Art Space, Dhaka, Bangladesh, October 1–21, 2013. Soaked Dream. Photography, objects, and performance.
Firoz Mahmud. Dhaka Art Center, Dhaka, Bangladesh, September 3–12, 2013. Loss of the Toss Is Blessing of Their Disguise. Photography and drawing.
Jan Wurm, At the Pool, 2013, mixed media on paper, 11 x 14 in. (artwork © Jan Wurm)Jan Wurm. Dorfgalerie, Neumarkt an der Raab, Austria, August 8–September 29, 2013. Magic Moments.
Mid-Atlantic
Les Barta. Edward Williams Gallery, Fairleigh Dickinson University, Hackensack, New Jersey, December 3, 2013–January 18, 2014. Works by Les Barta. Digital prints of photoconstructions.
Cianne Fragione (artwork © Cianne Fragione)Cianne Fragione. Brentwood Arts Exchange, Gateway Arts Center, Brentwood, Maryland, November 4–December 28, 2013. My Haiku. Work on paper and painting.
Margi Weir, Heat Wave, 2013, acrylic, vinyl, and resin on panel, 46 x 40 in. (artwork © Margi Weir)Margi Weir. Sheetz Gallery, Misciagna Family Center for the Arts, Pennsylvania State University, Altoona, Pennsylvania, September 5–October 13, 2013. An Ivyside Exhibition by Margi Weir. Painting and vinyl installation.
Midwest
Michelle Kogan, Rogers Park Dunes Restoration with Piping plover, endangered species, 2013, watercolor and watercolor pencil on paper, 40 x 26 in. (artwork © Michelle Kogan)Michelle Kogan. Peggy Notebaert Nature Museum, Chicago, Illinois, July 13–October 13, 2013. Narratives of Nature Watercolors by Michelle Kogan. Watercolor.
R. C. Sayler, installation view of HOME ALONE, 2013, mixed media, dimensions variable (artwork © R. C. Sayler; photograph by the artist)R. C. Sayler. Peoria Art Guild, Peoria, Illinois, June 29–August 7, 2013. HOME ALONE. Mixed-media installation, sculpture, and painting.
Betsy Stirratt, Cascade, 2013, oil on panel, 30 x 40 in. (artwork © Betsy Stirratt; photograph by Kevin Mooney)Betsy Stirratt. Packer Schopf Gallery, Chicago, Illinois, September 6–October 19, 2013. Half-Light. Painting.
Anne Wilson. Rhona Hoffman Gallery, Chicago, Illinois, October 18–December 7, 2013. Dispersions.
Northeast
Phyllis Bramson. Littlejohn Contemporary, New York, September 3–28, 2013. Small Personal Dilemmas. Painting.
Sharon L. Butler, Turbine House (Purple), 2013, pigment and binder on canvas, loosely stretched and propped against the wall, 66 x 78 in. (artwork © Sharon L. Butler)Sharon L. Butler. Fine Arts Gallery, Westchester Community College, State University of New York, Valhalla, New York, September 3–November 24, 2013. Dense Surveillance. Painting and drawing.
Steve Locke. Institute of Contemprary Art, Boston, Massachussets, July 31–October 27, 2013. Steve Locke: there is no one left to blame. Painting and sculpture.
Allison Smith. Aldrich Contemporary Art Museum, Ridgefield, Connecticut, May 27–September 2, 2013. Rudiments of Fife and Drum. Mixed media.
Linda Stein, Defender 696, 2010, leather, metal, and mixed media, 38 x 22 x 14 in. (artwork © Linda Stein)Linda Stein. Perrella Gallery, Fulton-Montgomery Community College, State University of New York, Johnstown, New York, October 17–December 13, 2013. The Fluidity of Gender: Sculpture by Linda Stein. Sculpture.
Blaise Tobia, Slight Perturbations of the Surface: double green, 2009, archival inkjet print, 22 x 17 in. (artwork © Blaise Tobia)Blaise Tobia. O. K. Harris Works of Art, New York, September 21–October 26, 2013. Blaise Tobia: Binary Codes. Paired photographic images.
Josette Urso. Kathryn Markel Fine Arts, Bridgehampton, New York, July 10–24, 2013. Josette Urso: Recalibration. Painting.
South
Jill Bedgood, Book of Hours: Intervention, 2013, installation of 25 unique cast booklike forms, Hydrocal, marble dust, and graphite, 7 x 5 x 1½ in. each (artworks © Jill Bedgood)Jill Bedgood. Blue Star Contemporary Art Museum, San Antonio, Texas, June 6–August 24, 2013. Book of Hours: Intervention. Installation of twenty-five cast booklike objects.
Invitation card for Dr. Kyra Bélan: Sacred Ladies (artworks © Kyra Bélan)Kyra Bélan. Arts for ACT Gallery, Fort Meyers, Florida, September 6–29, 2013. Dr. Kyra Bélan: Sacred Ladies. Painting.
Lee Ann Paynter (artwork © Lee Ann Paynter)Lee Ann Paynter. Kaviar Forge & Gallery, Louisville, Kentucky, September 27–November 2, 2013. SHE. Photography and sculpture.
Jan Wurm, Beach Triptych, 2013, mixed media on vinyl, 40 x 108 in. (artwork © Jan Wurm)Jan Wurm. Peacock Gallery, Middle Georgia State College, Cochran, Georgia, August 26–September 27, 2013. Jan Wurm: Drawings. Drawing.
West
Steven Bleicher. Branigan Cultural Center, Las Cruces, New Mexico, October 4–26, 2013. Route 66: The Mother Road. Drawing, digital media, and mixed media.
Katie Herzog, installation view of Transtextuality (SB 48), 2013, 48 oil on linen panels, 22 x 28 in. each (artworks © Katie Herzog)Katie Herzog. Night Gallery, Los Angeles, California, June 29–August 3, 2013. Transtextuality (SB 48). Painting.
People in the News
posted by CAA — October 17, 2013
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.
October 2013
Academe
Nicole Archer (photograph by John Lee)Nicole Archer, a visiting faculty member at the San Francisco Art Institute in California since 2009, has been appointed assistant professor in history and theory of contemporary art at her school. The position is tenure track.
Emily Engel (photograph by Paul Miller)Emily Engel has joined the College of Mount Saint Vincent in Riverdale, New York, as a tenure-track professor of art history and chair of the Fine Arts Department. In addition to her teaching and research responsibilities in the history of Latin American art, Engel will develop majors in studio art and art history for the college.
Ruthann Godollei has been named a DeWitt Wallace Professor of Art in the Department of Art and Art History at Macalester College in Saint Paul, Minnesota. Her courses include printmaking, the senior seminar, and topics such as dissent.
Janet Kraynak has been appointed associate dean for the School of Art and Design History and Theory at Parsons the New School for Design in New York.
Beauvais LyonsBeauvais Lyons, Chancellor’s Professor at the University of Tennessee in Knoxville, has been awarded an Ellen McClung Berry professorship for 2013–15.
J. P. Park has joined the History of Art Department at the University of California, Riverside, as an assistant professor of East Asian art. Park was formerly an assistant professor at the University of Colorado in Boulder.
Howard Singerman has joined Hunter College, City University of New York, as Caroff Chair of the Department of Art and Art History. Previously he was chair of the McIntire Department of Art at the University of Virginia in Charlottesville.
Museums and Galleries
Renata HolodRenata Holod, curator of the Near East section at the University of Pennsylvania Museum in Philadelphia, has been elected president of the board of trustees of the Ukranian Museum in New York.
Kimberly L. Jones has joined the Dallas Museum of Art in Texas as Ellen and Harry S. Parker III Assistant Curator of the Arts of America. She previously worked as a curator and lecturer at the University of Texas at Austin.
Danielle RiceDanielle Rice, formerly executive director of the Delaware Art Museum in Wilmington, has been appointed director of the new graduate degree program in museum leadership in the Westphal College of Media Arts and Design at Drexel University in Philadelphia, Pennsylvania.
Marika Sardar has accepted the post of associate curator of Southern Asian and Islamic art at the San Diego Museum of Art in California.
Organizations and Publications
Sylvie Fortin has been tapped to lead the next Biennale de Montréal as executive and artistic director. The multisite exhibition in the province of Quebec will take place in 2014–15.
Brooke Kamin Rappaport (photograph by Ellen Dubin Photography)Brooke Kamin Rappaport, most recently an independent curator and specialist in modern and contemporary sculpture, has been appointed senior curator of the Madison Square Park Conservancy in New York.
Institutional News
posted by CAA — October 17, 2013
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.
October 2013
The Archives of American Art, a branch of the Smithsonian Institution based in New York and Washington, DC, has received a $37,500 grant from the Terra Foundation for American Art to support its first symposium on digital humanities and American art, scheduled for November 2013.
The Art Institute of Chicago in Illinois has received a $125,000 grant from the Terra Foundation for American Art to support an exhibition called Art and Appetite: American Painting, Culture, and Cuisine, which will open in November 2013.
The Art Institute of Chicago in Illinois has received a $100,000 grant from the Terra Foundation for American Art to support the development and implementation of “American Sources: Using Visual Art in the Humanities Curriculum,” a yearlong professional-development program that will explore the use of American artworks as primary documents and guide participants in the development of related curriculum for middle and high school students in the region.
Artspace, a nonprofit art organization in New Haven, Connecticut, has received a 2013 grant from the Foundation for Contemporary Arts.
The Association of Research Institutes in Art History, an organization based in Miami Beach, Florida, has accepted a $75,000 grant from the Terra Foundation for American Art to support three research fellowships in American art.
The Bard Graduate Center in New York has recieved a 2013 grant from the Graham Foundation for Advanced Studies in the Fine Arts. The school will use the funds for the exhibition Artek: Design, Domesticity, and the Public Sphere.
The Canadian Center for Architecture in Montreal, Quebec, has received a 2013 grant from the Graham Foundation for Advanced Studies in the Fine Arts. The institution will use the funds for a publication, Chandigarh and Casablanca: Modern Urbanism, New Geographies.
Columbia College Chicago in Illinois has applied a $40,000 grant from the Terra Foundation for American Art toward a professional-development program for teachers in twenty-five public schools in Chicago for the 2012–13 academic year.
DePaul University in Chicago, Illinois, has received a $12,560 grant from the Terra Foundation for American Art to support an exhibition called For and against Modernity: The Armory Show + 100, which took place at the DePaul Art Museum earlier this year.
Elmhurst College in Elmhurst, Illinois, has spent a $18,870 grant from the Terra Foundation for American Art on a public symposium that explored the role of humor in American art of the 1960s through the 1980s. The event took place on April 27, 2013, in partnership with the DePaul Art Museum.
The Getty Research Institute in Los Angeles, California, has acquired the archive of the photographer Lewis Baltz, which includes his negatives, prints and proofs, ephemera, photographs, and publications.
The Solomon R. Guggenheim Foundation in New York has accepted a $200,000 grant from the Terra Foundation for American Art to support its forthcoming exhibition, Robert Motherwell: The Early Collages.
The Herron Art Library at Indiana University–Purdue University Indianapolis has become the only American library housing a permanent art collection honoring the literary history of Iraq. The library signed an agreement with an international coalition of artists and writers to preserve and showcase a collection of more than three hundred printed materials remembering the destruction of al-Mutanabbi Street, the centuries-old literary center of Baghdad.
The Los Angeles County Museum of Art in California, the Art Gallery of New South Wales in Sydney, Australia, and the National Museum of Korea in Seoul have collaborated on an exhibition project called America: Painting a Nation, which received $849,968 in funds from the Terra Foundation of American Art.
The Metropolitan Museum of Art in New York has accepted a $300,000 grant from the Terra Foundation for American Art to support American West in Bronze, 1850–1925, an exhibition that will open in December 2013 and later travel to Denver, Colorado, and to China.
Montana State University in Bozeman has accepted a $30,140 grant from the Terra Foundation for American Art to support an international scholarly conference, “Dialect[ic]s of Diplomacy: American and French Political Portraits during the Revolutionary and Federal Areas, circa 1776–1815.” The event will take place at the Smithsonian Institution’s National Portrait Gallery in Washington, DC, in September 2014.
The Moore College of Art and Design in Philadelphia, Pennsylvania, has created a new website. The school invites students, faculty, alumni, and others to visit the site and return often for updates.
New York University has received a $20,000 grant from the Terra Foundation for American Art to support an international graduate-student symposium, “Mapping the Landscape: Geography, Power, and the Imagination in the Art of the Americas,” which was held March 7–8, 2013.
Northeastern Illinois University in Chicago has accepted a $40,000 grant from the Terra Foundation for American Art on behalf of the Chicago Teachers’ Center. The funds support the second year of a three-year initiative for public-school teachers called “Studio Thinking and American Art.”
The Pennsylvania Academy of the Fine Arts in Philadelphia has established a new endowment for the purchase of contemporary works of art. The school’s goal is to greatly increase an aspect of the acquisitions program that has long been critical to building the renowned collection of the academy’s museum.
San Francisco State University in California has received a $95,165 grant from the Terra Foundation for American Art to support an exhibition in its Fine Arts Gallery called The Moment for Ink, which took place earlier in 2013.
The School of the Art Institute of Chicago in Illinois has applied a 2013 grant from the Graham Foundation for Advanced Studies in the Fine Arts for a public lecture “Toyo Ito: Architecture after 3.11,” taking place on October 15, 2013.
The Smithsonian American Art Museum in Washington, DC, has acquired one hundred photographs from the Irving Penn Foundation. The gift includes rare street photographs from the late 1930s and 1940s, many of which are unpublished; images of postwar Europe; iconic portraits of figures such as Agnes de Mille, Langston Hughes, and Truman Capote; color photographs made for magazine editorials and commercial advertising; self-portraits; and some of Penn’s most recognizable fashion and still-life photographs. An exhibition is planned for 2015.
The Smithsonian American Art Museum and its Renwick Gallery, both in Washington, DC, have received a $25,000 grant from the Terra Foundation for American Art to support travel by a to-be-appointed international member of the American Art editorial board to strengthen the journal’s global ties and networks.
Tate, a family of four museums in England, has accepted a $435,546 grant from the Terra Foundation for American Art to support the appointment of a three-year Terra Research Fellow in American Art (2014–17) as part of the “American Art Initiative.”
The Terra Foundation for American Art in Chicago, Illinois, has awarded itself a $733,210 grant to support a three-year initiative, “American Art at the Core of Learning,” which helps cultural organizations in Chicago to address the new Common Core State Standards in English Language Arts.
The Terra Foundation for American Art in Chicago, Illinois, has applied a $117,000 grant toward supporting its international publication initiative, “Perspectives in American Art,” which explores fundamental ideas shaping American art and culture.
The Terra Foundation for American Art in Chicago, Illinois, has earmarked a $79,000 grant to support the 2014 Terra Research Travel Grants, which have been awarded annually since 2003.
The Terra Foundation for American Art in Chicago, Illinois, has awarded itself a $150,000 grant to support a scholarly peer-reviewed anthology to accompany the single-painting exhibition, Samuel F. B. Morse’s “Gallery of the Louvre” and the Art of Invention, during its upcoming tour of American museums.
The Terra Foundation for American Art in Chicago, Illinois, has used a $39,000 grant to support planning for programming focused on Chicago’s art and design legacy. The funds support an advisory committee to assess program and content ideas for the initiative and to develop an initiative plan, including various kinds of public and K–12 programs, archival projects, publications, and more.
The University of Glasgow in Scotland has won a $100,000 grant from the Terra Foundation for American Art to support an inventory of historical American art in public collections in the United Kingdom.
The University of Kentucky in Lexington has taken a $61,443 grant from the Terra Foundaiton for American Art to support an academic conference called “American Art in Exhibition: Presentations of American Art at Home and Abroad from the Nineteenth Century to the Present,” that will take place November 15–16, 2013, at Tsinghua University in China.
The University of Nottingham in Nottingham, England, has used a $17,450 grant from the Terra Foundation for American Art to support a two-day symposium, “Art across the Black Diaspora: Visualizing Slavery in America,” which took place in May 2013 at the Rothermere American Institute at the University of Oxford.
The University of Wisconsin, Milwaukee, has received a 2013 grant from the Graham Foundation for Advanced Studies in the Fine Arts to help produce an exhibition called The Uncertainty of Enclosure: Leo Saul Berk and Bruce Goff, to be held in summer 2014.
The Wolfsonian at Florida International University in Miami Beach, Florida, has received a 2013 grant from the Graham Foundation for Advanced Studies in the Fine Arts. The museum will use the funds to publish a special issue of the Journal of Decorative and Propaganda Arts on Turkey.
Grants, Awards, and Honors
posted by CAA — October 15, 2013
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.
October 2013
Karen Barzman from Harvard University’s Center for Italian Renaissance Studies in Cambridge, Massachusetts, has been appointed visiting professor at Villa I Tatti in Florence, Italy, for the fall 2013 semester. She will work on a book project called “The Limits of Identity: Venice, Dalmatia, and the Representations of Difference.”
Ruthann Godollei, DeWitt Wallace Professor of Art in the Department of Art and Art History at Macalester College in Saint Paul, Minnesota, was awarded the 2013 Thomas Jefferson Award for teaching and service to the college.
Michelle Kogan, detail of Wildlife Comes to Lake Shore Drive, 2013, watercolor and watercolor pencil on paper, 40 x 26 in. (artwork © Michelle Kogan)Michelle Kogan, an artist based in Chicago, Illinois, has received a 2013 Individual Artist Program Grant from the city of Chicago’s Department of Cultural Affairs and Special Events Grants Department.
Jacqueline Marie Musacchio has been awarded the inaugural ARIAH Prize for Online Publishing from the Association of Research Institutes in Art History. Musacchio’s winning article, “Infesting the Galleries of Europe: The Copyist Emma Conant Church in Paris and Rome,” was published in the Autumn 2011 issue of Nineteenth-Century Art Worldwide.
Kori Newkirk, an artist based in Los Angeles, California, has won a $10,000 FOCAFellowship Award for 2013 from the Fellows of Contemporary Art.
Josette Urso has received a 2013–14 Adolph and Esther Gottlieb Foundation Grant for her painting.