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Grants, Awards, and Honors

posted by August 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.

August 2013

Joseph Ackley, a PhD candidate in art history at New York University’s Institute of Fine Arts, has been awarded a research grant for his participation in the Mellon Research Initiative conference, “Art History and the Art of Deception,” taking place in October 2013.

Sarah Archino, a teaching fellow in the Department of Art at Millsaps College in Jackson Mississippi, who earned her doctorate in art history from the Graduate Center, City University of New York, has accepted a 2013–15 postdoctoral teaching fellowship at the Institut National d’Histoire de l’Art in Paris, France, from the Terra Foundation for American Art.

Chris Barnard, an artist based in Los Angeles, California, has spent the month of June 2013 in residency at the Vermont Studio Center in Johnson, Vermont.

Julia Whitney Barnes, an artist based in Brooklyn, New York, has received a commission to create a permanent glass-mosaic installation, titled Coloridas Historias de México, for the Brooklyn School of Inquiry.

Sinclair Bell, associate professor of art history at Northern Illinois University in DeKalb, has been awarded a Howard Fellowship from the Howard Foundation at Brown University for 2013–14 to complete a monograph on chariot racing in ancient Rome.

Sarah Berkeley has been named a resident artist by the Artists’ Cooperative Residency and Exhibitions (ACRE) in Steuben, Wisconsin. Berkeley’s collaborator, Regin Igloria, will join her during the summer 2013 program.

Wendy Bellion, associate professor in the Department of Art History at the University of Delaware in Newark, has received an eight-week visiting professorship at the Institut National d’Histoire de l’Art in Paris, France, for spring 2015.

Steven Bleicher has been awarded a commission to produce a public art project, called Nature and Man in Rhapsody of Light at the Water Cube, in Beijing, China. His collaborators for the work were the artist Jennifer Wen Ma and the lighting designer Zheng Jianwei. Bleicher was the color specialist.

Suzanne Preston Blier, Allen Whitehill Clowes Professor of Fine Arts and Professor of African and African American Studies in the Department of Art and Architecture at Harvard University in Cambridge, Massachusetts, has been named a 2013–14 Getty scholar by the Getty Research Institute in Los Angeles, California. She will work on a project entitled “By Sea, Sand, and River: Africa and the West, a History in Art (1300–1800).”

Michele Brody, an artist based in New York, has completed the Emmanuel College Artist in Residence Program, where she worked with three other artists on a class called “Contemporary Art and Artistic Practice.”

Larry Busbea has won a 2013 Grant to Individuals in the category of research from the Graham Foundation for Advanced Studies in the Fine Arts, based in Chicago, Illinois. His project is called “The Responsive Environment: Aesthetics, Design, and Ecology in the 1970s.”

Katherine Bussard, Peter C. Bunnell Curator of Photography at the Princeton University Art Museum in Princeton, New Jersey, has earned a 2013 Grant to Individuals in the publication category from the Graham Foundation for Advanced Studies in the Fine Arts. Her publication is called Unfamiliar Streets: Photographs by Richard Avedon, Charles Moore, Martha Rosler, and Philip-Lorca diCorcia.

Kimberly Callas, an artist based in Brooks, Maine, has received a Puffin Foundation Grant for her sculptural project Portraits of the Ecological Self. The project includes ten hand-sculpted, life-size portraits that combine a detailed likeness of an individual with natural materials chosen to reveal the unique bond an individual has with nature.

Luis M. Castañeda has won a 2013 Grant to Individuals in the publication category from the Graham Foundation for Advanced Studies in the Fine Arts, based in Chicago, Illinois. His book is called The Exhibitionist State: Image Economies of the Mexican “Miracle.”

Sheila Crane has won a 2013 Grant to Individuals in the category of research from the Graham Foundation for Advanced Studies in the Fine Arts, based in Chicago, Illinois. Her project is called “Inventing Informality.”

Florina Hernandez Capistrano-Baker, a consultant for the Ayala Museum in Makati City, Philippines, has been named a 2013–14 Getty scholar by the Getty Research Institute in Los Angeles, California. Her project is called “Routes of Exchange: Tenth–Thirteenth Century Gold from Butuan and Links to the Indian Ocean and Mediterranean Trade Network.”

Grace Chuang, a doctoral student in art history at New York University’s Institute of Fine Arts, has received the 2013–14 IFA/Centre Allemand Fellowship in Paris, France.

William Coleman, a doctoral student in the History of Art Department at the University of California, Berkeley, has been appointed a 2013–14 predoctoral fellow at the Smithsonian American Art Museum in Washington, DC. He will continue work on “Thomas Cole’s Buildings: Architecture in Painting and Practice in the Early Republic.”

Erin Corrales-Diaz, a PhD student in the Art Department at the University of North Carolina, Chapel Hill, has been named Joe and Wanda Corn Predoctoral Fellow at the Smithsonian American Art Museum in Washington, DC. Her research involves “Remembering the Veteran: Disability, Trauma, and the American Civil War, 1861–1915.”

Vanessa Frances Rhiannon Crosby, a PhD candidate in the Department of Religious Studies at Northwestern University in Evanston, Illinois, has been named a 2013–14 predoctoral fellow by the Getty Research Institute in Los Angeles, California. She will work on “Foreign Goods and Trans-Regional Identities: Commemoration as Cross Cultural Encounter.”

John J. Curley, assistant professor in the Department of Art at Wake Forest University in Winston Salem, North Carolina, has received a publication grant from the Terra Foundation for American Art for his book A Conspiracy of Images: Andy Warhol, Gerhard Richter, and Cold War Visuality, forthcoming from Yale University Press.

Melissa Dabakis, professor of art history at Kenyon College in Gambier, Ohio, has been appointed Terra Foundation Senior Fellow in American Art for 2013 at the Smithsonian American Art Museum in Washington, DC. She will work on “A Cultural History of Italo-American Relations, 1760–1900.”

Melissa Dabakis, professor of art history at Kenyon College in Gambier, Ohio, has received a publication grant from the Terra Foundation for American Art for her book The American Corinnes: Women Sculptors and the Eternal City, 1850–1876, forthcoming from Pennsylvania State University Press.

Chanchal Dadlani, assistant professor of art history in the Department of Art at Wake Forest University in Winston-Salem, North Carolina, has been awarded a 2013–14 National Endowment for the Humanities Fellowship by the Getty Research Institute in Los Angeles, California. Her project is titled “Art and Epistemology between Early Modern India and France: The Collection of Jean-Baptiste Gentil.”

Andrew Demirjian, an artist based in Palisades Park, New Jersey, has been awarded a 2013 New Jersey Individual Artist’s Fellowship in the media/digital art category from the New Jersey State Council on the Arts.

Laura DeVito, a student in the MFA program in collaborative design at Pacific Northwest College of Art in Portland, Oregon, has completed a 2013 Spring Break Residency with Signal Fire in the deserts of Southern California.

Barbara Diener has accepted a residency for summer 2013 at the Artists’ Cooperative Residency and Exhibitions (ACRE), based in Steuben, Wisconsin.

Rob Duarte has been awarded a summer 2013 residency at the Artists’ Cooperative Residency and Exhibitions (ACRE), based in Steuben, Wisconsin.

Sam Durant, an artist based in Los Angeles, California, has been selected to participate in the 2013 Getty Artists Program, administered by the Education Department at the J. Paul Getty Museum in Los Angeles.

Kara Fiedorek, a doctoral student in art history in the Institute of Fine Arts at New York University, has accepted a research grant for her upcoming participation in a Mellon Research Initiative conference, “Art History and the Art of Deception,” scheduled for October 4–5, 2013.

Coco Fusco, an interdisciplinary artist and writer based in Brooklyn, New York, has completed a May–June 2013 residency at the Atlantic Center for the Arts in New Smyrna Beach, Florida.

Ken Gonzales-Day, an artist and the chair of the Art Department at Scripps College in Claremont, California, has accepted a 2013 summer residency at the Terra Residency Program in Giverny, France. He will work on a project called Absence, Stasis, and Other Non-Decisive Moments.

Ellery Foutch, who completed her PhD in the History of Art Department at the University of Pennsylvania in Philadelphia, has earned a 2013–15 postdoctoral teaching fellowship at the Courtauld Institute of Art in London, England, with help from the Terra Foundation for American Art.

Carl Fuldner, a doctoral student in the Department of Art History at the University of Chicago in Illinois, has been appointed a 2013–14 predoctoral fellow at the Smithsonian American Art Museum in Washington, DC. His dissertation examines “Evolving Photography: Naturalism and American Pictorialism, 1890–1917.”

Christine Eva Göttler, a professor and chair of the Institut für Kunstgeschichte at Universität in Bern, Switzerland, has been named a 2013–14 Getty scholar by the Getty Research Institute in Los Angeles, California. She will work on “Inventing Newness: Art, Local History, and ‘World Knowledge’ in Early Modern Antwerp (Mid-Sixteenth to Mid-Seventeenth Centuries).”

Jennifer Greenhill, associate professor of art history in the School of Art and Design at the University of Illinois, Urbana-Champaign, has been awarded an eight-week visiting professorship at the Institut National d’Histoire de l’Art in Paris, France, for spring 2014, thanks to the Terra Foundation for American Art.

Kenneth Haltman, H. Russell Pitman Professor of Art History in the School of Art and Art History at the University of Oklahoma in Norman, has accepted a visiting professorship in the John F. Kennedy Institute at Freie Universität in Berlin, Germany, for spring–summer 2014, with assistance from the Terra Foundation for American Art.

Adam Han, an MFA student in fiber and material studies at the School of the Art Institute of Chicago in Illinois, has been chosen as a 2013 Windgate Museum Intern by the Center for Craft, Creativity, and Design. He will contribute to a digital exhibition at the Smithsonian Institution’s Archives of American Art in Washington, DC, that tells the story of studio craft in the United States through primary-source material.

Mazie Harris, a doctoral student in the Department of the History of Art and Architecture at Brown University in Providence, Rhode Island, has accepted a fellowship to attend the 2013 Terra Summer Residency in Giverny, France. She will work on “The Portraits and Proprietary Claims of New York Photography Studios on Broadway 1853–1884.”

Andrew Hemingway, emeritus professor of history of art in the Department of History of Art at University College London in England, has accepted a visiting professorship in the John F. Kennedy Institute at Freie Universität in Berlin, Germany, for fall–winter 2013, courtesy the Terra Foundation of American Art.

Christopher Heuer, assistant professor in the Department of Art History and Archaeology at Princeton University in Princeton, New Jersey, has accepted a 2013 Grant to Individuals in the category of public program from the Graham Foundation for Advanced Studies in the Fine Arts. He will work on a project called “7 March 1965” with his collaborators, Abbey Dubin and Matthew Jesse Jackson, in a collective called Our Literal Speed.

Patricia Hills, professor in the Department of History of Art and Architecture at Boston University in Massachusetts, has been selected as a guest lecturer for 2013 at the Terra Summer Residency in Giverny, France. She will present “Whatever Happened to the ‘New Art History’? Reflections on Theoretical and Methodological Approaches since the 1970s.

Jessica L. Horton, an independent scholar who earned her doctorate in the Graduate Program in Visual and Cultural Studies at the University of Rochester in Rochester, New York, has been appointed a 2013–14 postdoctoral fellow at the Smithsonian American Art Museum in Washington, DC. She will work on “Diplomatic Choreographies: The Travels of Native American Dance Paintings during the Cold War.”

Kellie Jones, associate professor in the Department of Art History and Archaeology at Columbia University in New York, has been named a senior scholar for the 2013 Terra Summer Residency in Giverny, France. Her project is titled “Crisscrossing the World: Los Angeles Artists and the Global Imagination, 1960–1980.”

Wendy Katz, an associate professor in the Department of Art and Art History at the University of Nebraska in Lincoln, has been appointed a 2013–14 senior fellow at the Smithsonian American Art Museum in Washington, DC. Her project is “The Politics of Art Criticism in the Penny Press, 1833–61.”

Miri Kim, a PhD student in the Department of Art and Archaeology at Princeton University in Princeton, New Jersey, has accepted a fellowship to attend the 2013 Terra Summer Residency in Giverny, France. She will work on “‘Right Matter in the Right Place’: The Paintings of Albert Pinkham Ryder.”

Kristina Renee Kleutghen, assistant professor in the Department of Art History and Archaeology at Washington University in Saint Louis, Missouri, has been awarded a 2013–14 National Endowment for the Humanities fellowship by the Getty Research Institute in Los Angeles, California. She will continue her work on “Visions of the West: Rediscovering Eighteenth-Century Chinese Perspective Prints and Viewing Devices.”

Marina Kliger, a PhD student in art history in the Institute of Fine Arts at New York University, has accepted a nine-week summer internship at the National Gallery of Art in Washington, DC. She will catalogue and digitize rare French and Belgian reproductive prints.

Ethan W. Lasser, Margaret S. Winthrop Associate Curator of American Art at the Harvard Art Museums in Cambridge, Massachusetts, has received the ninth annual Patricia and Phillip Frost Essay Award from the editorial board of the journal American Art, published by the Smithsonian American Art Museum, based in Washington, DC. His article, “Selling Silver: The Business of Copley’s Paul Revere,” appeared in the Fall 2012 issue of the journal.

Dimitrios Latsis, a PhD candidate in the School of Art and Art History at the University of Iowa in Iowa City, has been named Committee on Institutional Cooperation–Smithsonian Predoctoral Fellow by the Smithsonian American Art Museum in Washington, DC. In a position jointly hosted with the National Museum of American History, Latsis will research “Nature, Nation, Narrative: The Discourse of Landscape in Pre–World War II American Cinema.”

Tirza T. Latimer, chair of the Graduate Program in Visual and Critical Studies at California College of the Arts in Oakland, has been appointed a guest lecturer at the 2013 Terra Summer Residency in Giverny, France. She will give a talk on “The Making of Modernism’s Origin Myths.”

Craig Lee, a doctoral candidate in the Department of Art History at the University of Delaware in Newark, has taken a nine-week summer internship at the National Gallery of Art in Washington, DC. He will review files, construction plans, and progress photographs to produce materials showing the development and evolution of the museum’s master facilities plan projects.

Sara Lees, along with her coauthors Richard Tand and Sandra L. Webber, has won the thirty-third annual George Wittenborn Memorial Book Award from the Art Libraries Society of North America. Their publication is called Nineteenth-Century European Paintings at the Sterling and Francine Clark Art Institute (Williamstown, MA: Sterling and Francine Clark Art Institute, 2012).

Lihong Liu, who recently earned her doctorate in art history from the Institute of Fine Arts at New York University, has received a 2013–14 postdoctoral fellowship from the Getty Research Institute in Los Angeles, California. She will work on “Artistic Exchange between China and Europe during the Eighteenth Century.”

Michael Lobel, professor of art history at Purchase College, State University of New York, in Purchase, New York, has received a 2012–13 Chancellor’s Award for Excellence from his institution. The award recognizes his work in the category of scholarship and creative activities.

Stéphane Loire, chief curator in the Paintings Department at the Musée du Louvre in Paris, France, has been named a 2013–14 museum guest scholar by the Getty Research Institute in Los Angeles, California. His host at the J. Paul Getty Museum will be the Department of Paintings.

Joe Madura, a doctorial student in the Art History Department at Emory University in Atlanta, Georgia, has been appointed a 2013–14 predoctoral fellow at the Smithsonian American Art Museum in Washington, DC. His dissertation topic is “Revising Minimal Art in the AIDS Crisis, 1984–98.”

Christopher Manzione, an artist based in Vernon, New Jersey, has been awarded a 2013 New Jersey Individual Artist’s Fellowship in the category of media/digital art from the New Jersey State Council on the Arts.

Lee Mazow, associate professor of art history in the Department of Art at the University of Arkansas in Fayetteville, has been awarded the twenty-fifth annual Charles C. Eldredge Prize for Distinguished Scholarship in American Art from the Smithsonian American Art Museum, based in Washington, DC. The prize recognizes his latest book, Thomas Hart Benton and the American Sound (University Park: Pennsylvania State University Press, 2012).

Kori Newkirk, an artist based in Los Angeles, California, has won a 2013 fellowship from the Fellows of Contemporary Art. The award comes with a $10,000 prize.

Laura Hart Newlon has accepted a residency at the Artists’ Cooperative Residency and Exhibitions (ACRE) in Steuben, Wisconsin. Newlon’s collaborator, Kate O’Neill, will join her at the summer 2013 program.

Kasia Ozga has been awarded a summer 2013 residency at the Artists’ Cooperative Residency and Exhibitions (ACRE), based in Steuben, Wisconsin.

Laure Poupard, a doctoral student at Université Paris IV—Sorbonne in Paris, France, has earned a research travel grant to the United States from the Terra Foundation for American Art. He/she will work on “The Artistic Sources of Propaganda Photographs: Official Photographic Exhibitions in America, 1935–1946.”

Meha Priyadarshini, a doctoral candidate in the Department of History at Columbia University in New York, has been named a 2013–14 predoctoral fellow by the Getty Research Institute in Los Angeles, California, to work on “From Jingdezhen to Puebla: Cultural and Artistic Exchange across the Pacific.”

Jennifer Quick, a graduate student in the Department of History of Art and Architecture at Harvard University in Cambridge, Massachusetts, has been accepted the 2013 Phillip and Patricia Frost Predoctoral Fellowship at the Smithsonian American Art Museum in Washington, DC. Her project is called “The Dynamics of Deskilling: Ed Ruscha 1956–70.”

Leslie Reinhardt, an independent scholar based in Maryland, has been appointed a 2013–14 senior fellow at the Smithsonian American Art Museum in Washington, DC. She will explore “Copley’s Death of Major Peirson” in a joint position with the National Portrait Gallery

Steve Rowell, an artist, curator, and researchers, has won a 2013 Grant to Individuals in the film category from the Graham Foundation for Advanced Studies in the Fine Arts. His project is called Parallelograms.

Casey Ruble, an artist based in Clinton, New Jersey, has been awarded a 2013 New Jersey Individual Artist’s Fellowship for her works on paper from the New Jersey State Council on the Arts.

Sofia Sanabrais, an independent scholar based in Los Angeles, California, has been named a 2013–14 Getty scholar by the Getty Research Institute in Los Angeles. Her research project is called “The Globalization of Taste: The Influence of Asia on Artistic Production in Colonial Latin America.”

Emily Schlemowitz, an MA student in art history at Hunter College, City University of New York, has been selected as a 2013 Windgate Museum Intern by the Center for Craft, Creativity, and Design. She will work closely with curatorial and exhibitions staff at the John Michael Kohler Arts Center in Sheboygan, Wisconsin, to assist with research in preparation for the 2014 Arts/Industry exhibition and publication.

Ileana Selejan, a PhD student in art history in the Institute of Fine Arts at New York University, has been awarded a research grant to participate in a Mellon Research Initiative conference, “Art History and the Art of Deception,” that will take place October 4–5, 2013.

Yoshiaki Shimizu, Frederick Marquand Professor of Art and Archaeology (emeritus) at Princeton University in Princeton, New Jersey, has been named a 2013–14 guest scholar by the Getty Research Institute in Los Angeles, California. His topic is “Transmission and Transformation: The China–Japan Interface in Arts and Other Things.”

Elizabeth Simmons, a graduate student on the PhD curatorial track in the Department of Art History at the University of Delaware in Newark, has accepted a nine-week summer internship at the National Gallery of Art in Washington, DC. She will assist in updating collections records according to recent catalogues raisonnés and other art-historical research.

Xiao Situ, a PhD student in the Department of the History of Art at Yale University in New Haven, Connecticut, has accepted a 2013–14 predoctoral fellowship from the Wyeth Foundation for American Art. Situ will continue research and writing for “Emily Dickinson’s Window Culture, 1830–86” at the Smithsonian American Art Museum in Washington, DC.

Marie M. Sivak, an artist based in Portland, Oregon, has received the 2013 Margo Harris Hammerschlag Direct Carving Award, which comes with a $10,000 prize.

Deborah Stratman, an artist and filmmaker based in Chicago, Illinois, has won a 2013 Grant to Individuals in the exhibition category from the Graham Foundation for Advanced Studies in the Fine Arts. Her project is titled Subsurface Voids.

Edward J. Sullivan, Helen Gould Sheppard Professor in the History of Art at New York University’s Institute of Fine Arts, has received a publication grant from the Terra Foundation for American Art. His book, forthcoming from Yale University Press, is called From San Juan to Paris and Back: Francisco Oller, Caribbean Artist in the Age of Impressionism.

Tina Tahir, an artist based in Chicago, Illinois, has been selected a winner of the 2013 ARTslanT Prize for her mixed-media sculpture Thirty (2012).

Ellen Tani, a doctoral candidate in the Department of Art and Art History at Stanford University in Stanford, California, has received a 2013–15 predoctoral dissertation fellowship from the Carter Woodson Institute for African and African-American Studies at the University of Virginia in Charlottesville. Her dissertation is entitled “Black Conceptualism and the Atmospheric Turn, 1968–2008.”

Alex Taylor a doctoral student in the Department of History of Art at Oxford University in Oxford, England, has accepted a fellowship to attend the 2013 Terra Summer Residency in Giverny, France. She will work on Forms of Persuasion: Art and Corporate Enterprise in the 1960s.”

Nancy Um, associate professor in the Department of Art History at Binghamton University, State University of New York, in Binghamton, New York, has been named a 2013–14 Getty scholar by the Getty Research Institute in Los Angeles, California. Um will continue working on
“The Material World of the Overseas Merchant in Yemen: Ceremonies, Gifts, and the Social Protocols of Trade, 1700-1750.”

Luis Vargas-Santiago, a graduate student in the Department of Art and Art History at the University of Texas at Austin, has been named Terra Foundation Predoctoral Fellow in American Art for 2013–14 by the Smithsonian American Art Museum in Washington, DC. His dissertation is called “The Diaspora of Emiliano Zapata: From the Mexican Revolution to the American Imagination.”

Charlene Villaseñor-Black, associate professor in the Department of Art History at the University of California, Los Angeles, has been named a 2013–14 Getty scholar by the Getty Research Institute in Los Angeles, California. She is researching “Itinerant Artists in the Global Early Modern World.”

Emily Warner, a PhD candidate in the History of Art Department at the University of Pennsylvania in Philadelphia, has accepted a 2013–14 predoctoral fellowship from the Smithsonian American Art Museum in Washington, DC. Her dissertation is entitled “Crafting the Abstract Environment: The Abstract Mural in New York, 1935–60.”

Sarah Warren, assistant professor of art history at Purchase College, State University of New York, in Purchase, New York, has been named James Renwick Senior Fellow in American Craft at the Smithsonian American Art Museum in Washington, DC. The name of her research project is “Craft between Modernism and Counterculture: Rhinebeck and the Studio Craft Movement.”

Spencer Wigmore, a doctoral student in the Department of Art History at the University of Delaware in Newark, has taken a nine-week summer internship at the National Gallery of Art in Washington, DC. He will assist in research and organization for a forthcoming exhibition on nineteenth-century American landscape photography.

Tatsiana Zhurauliova, a PhD candidate in the Department of the History of Art at Yale University in New Haven, Connecticut, has accepted a 2013 fellowship for the Terra Summer Residency in Giverny, France. She will work on
“Arcadia Americana: American Landscape in the Art of Arshile Gorky, Pavel Tchelitchew, and Yasuo Kuniyoshi during World War II.”

Claire Zimmerman, assistant professor of art history and architecture at the University of Michigan in Ann Arbor, has won a 2013 Grant to Individuals for a publication from the Graham Foundation for Advanced Studies in the Fine Arts, based in Chicago, Illinois. Her book project is called Photographic Modern Architecture.

Exhibitions Curated by CAA Members

posted by August 15, 2013

Check out details on recent shows organized by CAA members who are also curators.

Exhibitions Curated by CAA Members is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.

August 2013

David Anfam, Clyfford Still: Memory, Myth, and Magic. Clyfford Still Museum, Denver, Colorado, May 24–September 29, 2013.

Reni Gower. Radiant: Contemporary Encaustic. Slocumb Galleries, Eastern Tennessee State University, Johnson City, Tennessee, August 19–September 20, 2013.

Reni Gower. Shadow and Light. Tinney Contemporary, Nashville, Tennessee, May 18–June 29, 2013.

Alice Ming Wai Jim. Yam Lau: A World Is a Model of the World. Darling Foundry, Montreal, Quebec, Canada, June 6–August 25, 2013.

Aaron Krach and Courtney Childress. No Name. On Stellar Rays, New York, June 20–July 31, 2013.

Birgit Rathsmann. October 18, 1977. Klemens Gasser and Tanja Grunert, New York, June 20–July 19, 2013.

Books Published by CAA Members

posted by August 15, 2013

Publishing a book is a major milestone for artists and scholars—browse a list of recent titles below.

Books Published by CAA Members appears every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.

August 2013

Matthew Biro. Anselm Kiefer (New York: Phaidon, 2013).

Jane Block and Claude Sorgeloos, eds. Homage to Adrienne Fontainas: Passionate Pilgrim for the Arts (New York: Peter Lang, 2013).

Francesco Freddolini. Giovanni Baratta 1670–1747: Scultura e industria del marmo tra la Toscana e le corti d’Europa (Rome: L’Erma di Bretschneider, 2013).

Joni M. Hand. Women, Manuscripts, and Identity in Northern Europe, 1350–1550 (Burlington, VT: Ashgate, 2013).

Katie Grace McGowan, ed. Post-Industrial Complex (Detroit: Museum of Contemporary Art Detroit, 2013).

Anita Fiderer Moskowitz. Forging Authenticity: Giovanni Bastianini and the Neo-Renaissance in Nineteenth-Century Florence(Florence: Leo S. Olschki, 2013).

Richard Taws. The Politics of the Provisional: Art and Ephemera in Revolutionary France (University Park: Pennsylvania State University Press, 2013).

Xin Wu. Patricia Johanson and the Re-Invention of Public Environmental Art, 1958–2010 (Burlington, VT: Ashgate, 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.

August 2013

Linder Buzzcocks

Linder’s artwork for the Buzzcocks’ first single, “Orgasm Addict”

Linder: Woman/Object
Kestnergesellscahft Hanover
Goseriede 11, 30159 Hanover, Germany
June 7–August 4, 2013

The first major survey in Germany of the oeuvre of a leading protagonist of the late-1970s punk scene, Linder: Woman/Object brings together more than two hundred selections that capture the diversity of an artistic practice that cuts across music, dance, and fashion and transcends all types of visual media, from collage and photography to video and performance. The exhibition also highlights the feminist politics that underpin the artist’s work and self-staging.

Linder Sterling—known simply as Linder—was born in Liverpool as Linda Mulvey in 1954. By the end of the 1970s, she had become a key figure in the culturally explosive period of punk and postpunk, developing her art alongside bands such as the Buzzcocks, Magazine, Joy Division, and the Smiths. One of her best-known works is the cover of the Buzzcocks’ single “Orgasm Addict,” which shows a naked woman with grinning mouths on her breasts and an iron replacing her head. In 1978 Linder cofounded the postpunk group Ludus, whose singer she remained until the band split up in 1983. She caused a furor in 1982 by appearing—a quarter of a century before Lady Gaga—in a dress made of scraps of poultry. Linder’s work has become internationally known in recent years through presentations at important institutions such as the Institute of Contemporary Arts and Tate, both in London, and with a solo exhibition at MoMA PS1 in New York.

Mother Armenia

Mother Armenia
Armenian Center for Contemporary Experimental Art
1/3 Pavstos Biuzand Boulevard, Yerevan, Armenia
July 3–August 17, 2013

Organized by the 4Plus Documentary Center in Armenia and curated by Svetlana Bachevanova, this exhibition brings together the work of ten female documentary photographers: Mery Aghakhanyan, Sara Anjargolian, Nazik Armenakyan, Anush Babajanyan, Knar Babayan, Anahit Hayrapetyan, Hasmik Hayrapetyan, Piruza Khalapyan, Inna Mkhitaryan, and Nelli Shishmanyan. Addressing the role of women in modern Armenia as well as broader social injustices, their work captures several aspects of Armenian life from a female point of view that remains rarely voiced in the region. “Women in Armenia still battle to establish a career,” the curator says. “Women are still expected to be full time mothers and housekeepers. But these ten documentarians broke the rules and found a way to pursue careers and create powerful bodies of work.”

Sturtevant

Installation view of Sturtevant: LEAPS JUMPS AND BUMPS at the Serpentine Gallery (photograph © 2013 Jerry Hardman-Jones)

Sturtevant: LEAPS JUMPS AND BUMPS
Serpentine Gallery
Kensington Gardens, London, W2 3XA, United Kingdom
June 28–August 26, 2013

The first solo exhibition of Sturtevant in a public institution in the United Kingdom, LEAPS JUMPS AND BUMPS showcases work created since the 1970s by this Paris-based American artist, illuminating her groundbreaking exploration of the relationship between repetition and difference while demonstrating the wide variety of media she has embraced. The exhibition includes a large-scale video work, Finite Infinite (2010), and a piece comprising garlands of light bulbs, Gonzalez-Torres Untitled (America) from 2004, that is a later version of a work shown at the Serpentine Gallery in 2000 in the Félix González-Torres exhibition.

Autoritratti: Iscrizioni del femminile nell’arte italiana contemporanea
Museo d’Arte Moderna di Bologna
Via Don Giovanni Minzoni 14, 40121, Bologna, Italy
May 12–September 1, 2013

Autoritratti features old and new works—including some made specifically for the show—by a large number of female Italian artists. Exploring inscriptions of difference in contemporary Italian art, this exhibition, first proposed initially by Uliana Zanetti, is part of an inter- and extramuseum collective initiative that is investigating the role of gender in the work of contemporary women artists in a country in which second-wave feminism was not influential in the arts. That said, the positions and practices of several women artists clearly demonstrate intriguing negotiations of gender difference.

The title of the show merges references to two important feminist thinkers: the British Griselda Pollock and the Italian Carla Lonzi. The artists in the show are: Alessandra Andrini, Paola Anziché, Marion Baruch, Valentina Berardinone, Enrica Borghi, Anna Valeria Borsari, Chiara Camoni, Annalisa Cattani, Alice Cattaneo, Daniela Comani, Daniela De Lorenzo, Marta Dell’Angelo, Elisabetta Di Maggio, Silvia Giambrone, goldiechiari, Alice Guareschi, Maria Lai, Christiane Löhr, Claudia Losi, Anna Maria Maiolino, Eva Marisaldi, Sabrina Mezzaqui, Marzia Migliora, Ottonella Mocellin and Nicola Pellegrini, Maria Morganti, Margherita Morgantin, Liliana Moro, Chiara Pergola, Letizia Renzini, Moira Ricci, Mili Romano, Anna Rossi, Elisa Sighicelli, Alessandra Spranzi, Grazia Toderi, Sabrina Torelli, Traslochi Emotivi, Tatiana Trouvé, Marcella Vanzo, and Grazia Varisco.

Dame Laura Knight

Dame Laura Knight, Ruby Loftus Screwing a Breech-ring, 1943. Imperial War Museum, London (artwork © Estate of Dame Laura Knight DBE RA)

Laura Knight: Portraits
National Portrait Gallery
Saint Martin’s Place, London, WC2H 0HE, United Kingdom
July 11–October 13, 2013

With over thirty portraits, this exhibition revisits the work and exceptionally successful career (for a woman of her time) of Dame Laura Knight, among the most popular British artists of twentieth century and the first official female member of the Royal Academy of Arts (since 1936). Knight studied art at the Notthingham Art School, encouraged by her mother, an amateur artist herself, who is remembered setting such ambitious goal for her daughter by saying “one day you will be elected in the Academy.” Knight eventually became so successful that she was featured as a role model in books for careers aimed at women in England.

Knight rejected modernism but focused on capturing modern life and culture through portraiture. She was recognized for her commissioned work as an official war painter, creating propagandistic portraits of female factory workers and heroines of wartime bravery. Yet it is her portraits of theater, ballet, and circus performers, English gypsies, and the segregated black patients of Baltimore’s Johns Hopkins Memorial Hospital that illuminate the diversity of the works’ backgrounds, vividness of their style, and the immersive method of their production.

Platform: Josephine Meckseper
Parrish Art Museum
279 Montauk Highway, Water Mill, NY 11976
July 4–October 14, 2013

Josephine Meckseper is known for the cool, seductive conflation of art objects and commodities in her installations, films, and photographs that unmask the political implications of consumer culture. As this year’s Platform guest at the Parrish, she has responded to the museum’s site, using it as “a perfect display platform” that resonates with the use of commercial displays and everyday items in her work. Two vitrines near the museum’s entrance, containing original sculptures and mass-produced objects, introduce visitors to Meckseper’s signature approach, while other works referencing automobile culture engage the museum’s collection and the world outside it. Alluding to both Jean-Luc Godard’s driving-centric film Weekend and the nearby car dealerships, Sabotage Auto Assembly Line to Slow It Down (2009) incorporates car tires, a conveyer belt, two of the artist’s videos on stacked monitors, and mirrored tiles that cinematically reflect the vehicles in transit along Montauk Highway. With its prominent Jeep insignia, Crow (2011) is placed adjacent to John Chamberlain’s crushed car sculpture

Filed under: CWA Picks, Uncategorized — Tags:

Major NEA Cut Frozen until Fall

posted by August 01, 2013

Americans for the Arts sent the following email on August 1, 2013.

Major NEA Cut Frozen until Fall

Yesterday the US House Appropriations Committee began consideration of legislation that would devastate the National Endowment for the Arts (NEA) with a 49 percent cut to its budget. An amendment to restore the funding to the NEA was defeated along a party-line vote of 19–27. With rising tempers over this cut and many others, the committee has now suspended its consideration until mid-September.

This legislation began its journey as a subcommittee proposal last week and the full committee is the middle step before it goes to the House floor for final consideration. Arts advocates are outraged and have sent more than 22,000 messages to Capitol Hill this past week calling for a rejection of these cuts.

If you have two minutes, please contact your member of Congress, or you can use our powerful media alert tool to send a Letter to the Editor to your local newspapers calling for Congress to reject this cut.

As stated in yesterday’s committee meeting by members of Congress from both parties, the cuts to our cultural resources are misguided and disproportionate. Not only will they impact the NEA, but the millions of Americans working in the creative industries that are boosted by the strategic grants made by the NEA.

  • Senior Democratic appropriator Rep. Nita Lowey (D-NY) described the bill as the “worst bill considered during this appropriations cycle”
  • Rep. Betty McCollum (D-MN) said, “We’d be better off passing a blank piece of paper”
  • Rep. Chellie Pingree (D-ME) noted how many communities in her state have been revitalized because of NEA support and how critical it is

The Road Ahead

As members of Congress head back to their home districts shortly for a five-week recess period, the appropriations process will be put on hold until their return on September 9. Americans for the Arts will continue to build our advocacy efforts, looking ahead to later in the fall when the committee will try again to complete its work and move consideration of the bill to the House floor, where amendments to restore funding, and unfortunately reduce funding even further, could be offered.

The steps beyond that are unclear as the appropriations process this year appears to be heading toward a dysfunctional ending. As the Senate and the House have vastly different appropriations levels on a variety of bills, it is unlikely that they will find a compromise position. The most likely outcome would be a “continuing resolution” that would maintain the current NEA funding level into the next fiscal year.

If you have two minutes, please contact your member of Congress, or send a Letter to the Editor to your local newspapers calling for Congress to reject this cut. Americans for the Arts has further details and will be providing updates on our ARTSblog here.

Please help us continue this important work by becoming an official member of the Arts Action Fund. If you are not already a member, you can play your part by joining the Arts Action Fund today—it’s free and easy to join.

The National Humanities Alliance sent the following email on August 1, 2013.

Speak Up Now! 49 Percent Cut to the NEH Stalled in the House

By acting now, you can help to ensure that this devastating cut doesn’t move beyond the committee room.

Yesterday, the House of Representatives Appropriations Committee considered a 49 percent ($71 million) cut to the National Endowment for the Humanities (NEH). After a lengthy debate, the committee adjourned for the August recess without acting on the proposal but with the intent to take it up again in September. We must use this recess to make our voices heard in order prevent these devastating cuts from being enacted. Please send messages to your elected officials today by clicking this link.

If you sent a message last week, please send this new message to both your Senators and Representatives. Click here to send a message today.

This battle will continue into the fall, as this bill moves toward a vote of the full House of Representatives and as the Senate considers its own spending bills. During this period it is important that your elected officials hear from you and your friends and colleagues. Click here to learn about six steps that you can take to oppose these cuts and preserve the NEH during this time. Please take these steps and circulate them widely.

This drastic cut would end programs that provide critical support for humanities teaching, preservation, public programming, and research and result in positive impacts on every community in the country. Programs supported by the NEH teach essential skills and habits including reading, writing, critical thinking, and effective communication that are crucial for ensuring that each individual has the opportunity to learn and become a productive member of society. Further, NEH’s programs strengthen communities by promoting understanding of our common ideals, enduring civic values, and shared cultural heritage.

Please share this message with your friends.

Click here to download “Six Steps to Oppose cuts to NEH.”

The NEH desperately needs your help.

Click here to send a message to your elected officials.

Americans for the Arts sent the following email on July 23, 2013.

House Subcommittee Cuts the NEA by 49 Percent

Today, the US House of Representatives Interior Appropriations Subcommittee approved its initial FY 2014 funding legislation, which includes a proposed cut of $71 million to the National Endowment for the Arts (NEA). This would bring funding of the NEA down to $75 million, a level not seen since 1974!

Please take two minutes to send a customizable message to your members of Congress rejecting these dramatic cuts to NEA funding.

While the subcommittee bill includes a 20 percent reduction in total spending as a part of the House budget plan, the proposed cuts of 49 percent to the NEA are significantly disproportionate. The arts community recognizes the challenges our elected leaders face in prioritizing federal resources, but funding for the NEA has already been cut by more than $29 million over the past three years. These disproportionate cuts recall the dramatic decline of federal funding for the arts in the early 90s, from which the agency has still not recovered.

In her statement during today’s markup, senior appropriator Rep. Nita Lowey (D-NY) said these cuts “harken back to a time when a misguided war on the arts and culture ignored the educational and cultural benefits they provide our communities.”

Final FY 2013 (includes 5 percent sequester cut)

National Endowment for the Arts: $138.4 million
National Endowment for the Humanities: $138.4 million

FY 2014 President’s Request

National Endowment for the Arts: $154.466 million
National Endowment for the Humanities: $154.466 million

FY 2014 House Subcommittee Proposal

National Endowment for the Arts: $75 million
National Endowment for the Humanities: $75 million

This is just the first step in an annual appropriations process, which this year appears to be heading toward a dysfunctional ending. It is expected that the full House Appropriations Committee will consider this legislation next week; however, as the Senate and the House have vastly different appropriations levels, it remains unclear whether this bill will reach the House floor or a final version will ever be completed with the Senate. A message from you now registering your concerns with your member of Congress would be well-timed to arrive prior to any possible next step in the appropriations process.

Please help us continue this important work by becoming an official member of the Arts Action Fund. If you are not already a member, you can play your part by joining the Arts Action Fund today—it’s free and easy to join.

The League of American Orchestras has circulated a statement that the National Endowment for the Arts (NEA) will be using in response to press inquiries.

Statement on the House Appropriations Subcommittee Draft FY2014 Spending Bill for the Interior, Environment, and Related Agencies

If enacted, the FY2014 budget proposed for the National Endowment for the Arts in the draft appropriations bill would severely hamper the agency’s ability to fulfill its mission of investing in arts organizations throughout all 50 states.

As the President, Congress, and the American people continue to be focused on the country’s economy, it is important to note that a dollar invested by the NEA is matched by $9 of additional investment and generates $26 in economic activity.

Last year, the NEA invested nearly $116 million through more than 2,200 grants in communities of all sizes. In turn, these nonprofit arts organizations had direct expenditures of $31.2 billion that helped support the 5.7 million arts-related jobs and 2 million working artists in this country.

The President’s FY2014 budget request recognizes the importance of this investment and lays out a strong case for funding the NEA at $154.5 million, which the full House and the Senate will review as the budget process continues.

The National Humanities Alliance (NHA) sent the following email on July 22, 2013.

Oppose devastating cuts to the National Endowment for the Humanities

The House of Representatives Appropriations Committee released its FY 2014 Interior and Environment Appropriations bill this morning with a 49 percent ($71 million) cut for the National Endowment for the Humanities. If enacted, this funding level would devastate an agency that has already been reduced by 19 percent since 2010.

This drastic cut would end programs that provide critical support for humanities teaching, preservation, public programming, and research, and result in positive impacts on every community in the country. Programs supported by the NEH teach essential skills and habits including reading, writing, critical thinking, and effective communication that are crucial for ensuring that each individual has the opportunity to learn and become a productive member of society. Further, NEH’s programs strengthen communities by promoting understanding of our common ideals, enduring civic values, and shared cultural heritage.

Click here to send a message today to urge your Representative to vote against these devastating cuts.

Please share this message with your friends.

The NEH desperately needs your help.

The National Humanities Alliance (NHA) sent the following email on July 19, 2013.

Action Alert: Act Now to Preserve Critical Humanities Funding

Over the last three years the budget of the National Historical Publications and Records Commission (NHPRC), an agency critical to preserving America’s documentary heritage, has been cut from $13 million to just $4.75 million. Last week, the House of Representatives proposed another 36 percent reduction that threatens to further erode this small agency’s capacity to preserve endangered collections and provide access to our shared cultural heritage. Your voice can help to ensure that the Senate acts to prevent this draconian cut.

The Senate will begin voting on NHPRC funding on Tuesday, July 23, so your senators must hear from as many of their constituents as possible before that date in order to prevent this reduction.

To preserve NHPRC funding:

1) Click the link below to send a message urging your senators to provide full funding to the National Historical Publications and Records Administration. We have provided a template letter that you may customize if you choose, so it is quick and easy.

2) Share this message with your friends.

More information on NHPRC:
The National Historical Publications and Records Administration (NHPRC) provides critical support for preservation of at-risk collections in communities around the country. Its grants leverage state, local, institutional, foundation, and other private funding by requiring 50 percent cost sharing—i.e. for every federal dollar invested, another dollar is spent from a non-federal source. NHPRC also supports publications projects of national significance such as the Papers of Abraham Lincoln and the Papers of George Washington. Just this year, it launched Founders Online, an unprecedented resource that provides online access to more than 100,000 documents of the founding generation.

It is critical that you act now to ensure that efforts to preserve and provide public access to national treasures can continue. Once these materials are lost, they are lost forever.

Click this link to send a message:
http://cqrcengage.com/nhalliance/app/write-a-letter?3&engagementId=13034