CAA News Today
Books Published by CAA Members
posted by CAA — June 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.
June 2013
Dora Apel. War Culture and the Contest of Images (New Brunswick, NJ: Rutgers University Press, 2012).
Jonathan Fineberg. Alice Aycock: Drawings; Some Stories Are Worth Repeating (Southampton, NY: Parrish Art Museum, 2013).
Wayne Franits. The Paintings of Dirck van Baburen, ca. 1592/93–1624: Catalogue Raisonné (Philadelphia: John Benjamins, 2013).
Jennifer A. Greenhill. Playing It Straight: Art and Humor in the Gilded Age (Berkeley: University of California Press, 2012).
Ellen G. Landau. Mexico and American Modernism (New Haven, CT: Yale University Press, 2013).
William Marotti. Money, Trains, and Guillotines: Art and Revolution in 1960s Japan (Durham, NC: Duke University Press, 2013).
Julie Wosk. Breaking Frame: Technology, Art, and Design in the Nineteenth Century (New York: An Authors Guild Backinprint.com Edition, 2013).
Andrés Mario Zervigón. John Heartfield and the Agitated Image: Photography, Persuasion, and the Rise of Avant-Garde Photomontage (Chicago: University of Chicago Press, 2012).
Committee on Women in the Arts Picks for June 2013
posted by CAA — June 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.
June 2013
Carolee Schneemann, Untitled (from the Dust Paintings series), 1984, ink, ashes, acrylic paint, string, vegetable dye, glass particles, photograph on fabric, and circuit board on heavy rag paper, 37½ x 49 in. (artwork © Carolee Schneemann)
Carolee Schneemann: Flange 6rpm
PPOW Gallery
535 West 22nd Street, Third Floor, New York, NY 10011
May 11–June 22, 2013
Titled after a multisensory installation that immerses the viewer in an environment of projected foundry fires, animated by motorized hand-sculpted components cast in aluminum, the fourth exhibition of the pioneering feminist multimedia artist Carolee Schneemann at PPOW Gallery brings together an assortment of works that date from the 1980s to today, illuminating diverse aspects of her expansion of media and her exploration of materials, as well as revealing the politics of her work. In addition to Flange 6rpm, the show features four examples from her Dust Paintings series (1983–86), created with degraded materials, layers of dust, spilled paint, and circuit boards in critical reference to the effacement of Lebanese and Palestinian villages by continuous bombardment. Two major grid installations of photographs and text—Saw Over Want (1980–82) and Vulva’s Morphia (1995)—are also included.
Nicole Eisenman / Matrix 248
Berkeley Art Museum and Pacific Film Archive
Woo Hon Fai Hall, 2625 Durant Avenue, No. 2250, Berkeley, CA 94720
May 3–July 14, 2013
Curated by Apsara DiQuinzio, Nicole Eisenman / MATRIX 248 brings together approximately forty paintings and works on paper by this New York–based artist created after 2009 that variously contemplate the human condition—though they are specifically inspired by and reflect the post-Bush-era economic crisis and sociopolitical instability. The exhibition includes examples of Eisenman’s first reaction to social turmoil—a series of monotypes featuring weeping people—and other works in which she idiosyncratically grafts historical styles such as American Regionalism and the Italian Renaissance with German Expressionism, updating familiar art forms to make timely social commentaries, as in Triumph of Poverty (2009), based on Hans Holbein the Younger’s painting of the same name, and Tea Party (2011).
Ellen Gallagher, Wiglette from DeLuxe, 2004, photogravure and plasticine, 13 x 10¼ in. (artwork © Ellen Gallagher)
Ellen Gallagher: AxME
Tate Modern
Bankside, London SE1 9TG, England
May 1–September 1, 2013
The first overview of this American artist’s twenty-year career and the first major survey of her work in the United Kingdom, Ellen Gallagher: AxME illuminates signature themes of her exploration of myth, nature, social issues, and art history through painting, drawing, relief, collage, print, sculpture, film, and animation, while inviting the viewer to closely study her fascinating mode of production. Along with key works such as the various series of wig-map grid collages that cast sharp commentaries on black beauty ideals, along with the intricate relief Bird in Hand, the exhibition presents Gallagher’s film installation Murmur (2003–4), her ongoing series of watercolor collages Watery Ecstatic, and a new series called Morphia, comprising two-sided drawings that combine “the intimate with the epic, the urban with the oceanic, the ethereal with the physical, and history with the present.”
Nicola L: Body Language under the Sun and the Moon
Broadway 1602
1181 Broadway, Third Floor, New York, NY 10001
May 4–June 22, 2013
Focusing on Nicola L’s radical perspective on the gendered body, whether in pain or in joy, this exhibition introduces the work of an overlooked French artist. Although based in New York since the 1980s, Nicola began her career in Paris in the 1960s as a conceptual artist working in installation, performance, and functional art (since 1976 she also turned to film). A larger-than-life-sized installation, a penetrable sculpture for three performers called The Cylinder, debuted at the Biennale de Paris in 1967 with the rock group the Soft Machine; it was then shown at La MaMa Theater in New York. Pierre Restany welcomed her exceptional vision in his essay “A Long Day’s Journey to the End of the Skin” for her first exhibition at Galerie Daniel Templon in 1969, the same year he hailed Evelyne Axell’s nudes, shown in the same gallery, as signs of sexual liberation.
Nicola’s functional objects became classics of 1960s experimental furniture and soft-art design. But their eroticism is underpinned by an early feminist perspective that merits comparison with the work of several women artists of the sixties onward, whether in France or elsewhere: see, for instance, La Femme Commode (1969–2012), The Lover’s Wardrobe (1967–70), and The Lips Lamp (1969), and soft sculptures such as The Giant Foot (1967–2013) and Giant Woman Sofa (1970–2012). In 1969 Nicola created The Red Coat for Eleven People or Same Skin for Everyone—whose original is included at Broadway 1602—that was first performed with Caetano Veloso and Gilberto Gil at the Isle of Wight Festival in 1970. Characterized as her pivotal “collective object of performance,” the work was used for performances around Europe, including one in Barcelona, where she was arrested by Francisco Franco’s army.
In 1974, Nicola participated in the exhibition Grandes Femmes, Petits Formats at Galerie Iris Clert in Paris, presenting her provocative multimedia sculpture Woman Pregnant from TV (1970). By 1979, the artist moved definitively to New York, where she witnessed and was inspired by the city’s countercultural movements and vibrantly experimental art milieu. In 1981, she directed a film on Abbie Hoffman, the radical social activist and leader of the Yippie movement, called My Name Is Abbie: Orphan of America. Nicola continues to work on her Penetrable Universe series.
Eve Sussman | Rufus Corporation
Bass Museum of Art
2100 Collins Avenue, Miami Beach, FL 33139
April 12–November 3, 2013
Featuring the Rape of the Sabine Women (2004) and 89 Seconds at Alcázar (2007) and complemented by an interventional installation of photographic stills from both works alongside historical portraits from Bass Museum’s collection, this exhibition interweaves masterpieces of Eve Sussman’s film productions through Rufus Corporation (which she founded in 2003) that dazzle with their opulent settings. Conventionally screened in a darkened room, the twelve-minute 89 Seconds at Alcázar delights with Sussmann’s enactment of the enigmatic moment of court life captured in Diego Velasquez’s Las Meninas (1656).
With its five acts inventively presented as a five-part video installation, Sussman’s celebrated Rape of the Sabine Women is a potent interpretation of the myth of Rome’s founding—filmed in Germany and Greece and set in the Cold War sixties—as ideal vehicle for her critique of utopia, power, and gender relationships in comparable historical settings of hope and decadence. Although Rape of the Sabine Women was made as a feature film, the action of its presentation at the Bass unspools on over thirty screens—including sprawling wall projections, a houselike construction, several tiny video monitors, and a massive installation of television sets piled randomly on the floor—and offers a mesmerizing immersive filmic experience that enhances the visual poetics and the power of Sussman’s reinterpretation of the Roman legend with government agents and Greek butchers’ daughters.
Niki de Saint Phalle, My Monster, 1968 (artwork © Niki de Saint Phalle/BUS 2013)
Niki de Saint Phalle: The Girl, the Monster, and the Goddess
Moderna Museet
Skeppsholmen, Stockholm, Sweden
April 20–December 1, 2013
Capitalizing mainly on the Moderna Museet’s comprehensive collection of works by Niki de Saint Phalle, largely thanks to Pontus Hulten and a generous donation by the late artist, this exhibition captures the centrality of the figures of the girl, the monster, and the goddess in de Saint Phalle’s artistic universe, exploring its autobiographic and feminist underpinnings and advocating the importance of the artist in the twentieth-century postwar avant-garde. Enhanced by archival material that reflects the reception of her Ur-Goddess, She – A Cathedral, constructed for the museum in 1966, the exhibition evokes the meeting of the girl, the monster and the goddess in de Saint Phalle’s film Daddy and is accompanied by a new documentary on the artist.
VALIE EXPORT: Images of Contingence
Żak | Branicka
Lindenstrasse 35, Third Floor, Berlin D-10969 Germany
April 26–June 16, 2013
“For me, contingence is how and where you perceive borders, and how and where and when borders explode,” said VALIE EXPORT, and it is the exploration of a variety of borders that Images of Contingence illuminates by highlighting the artist’s interest in physical contact and its implications in various media, including installation, drawing, photography, film, and archival materials. Along with the installation Fragments of Images of Contingence (1994), in which light bulbs hanging from poles and wires are sensuously yet dangerously immersed into cylinders filled with fundamental-to-our-existence liquids such as milk, used oil, or water, and its rhythmic pendant, The un-ending/-ique melody of cords (1998), a recording of a threadless sewing machine and its sound, the exhibition brings together a selection of videos permeated by issues of contingency, liminality, and sensual experience. The show also includes the artist’s celebrated Touch Cinema, performed in Munich in 1969, for its political activation of touch. A series of drawings from the early 1970s, depicting hands that protect and caress or cause suffering, complements this showcase of EXPORT’s negotiation of borders by illuminating her contradictory exploration of touch and the female body as ciphers of intimacy, sensuality, and carnality, as well as violence and aggression.
2013 Candlelight Vigil for Global Heritage
posted by CAA — May 16, 2013
Saving Antiquities for Everyone (SAFE) invites CAA members to join the 2013 Candlelight Vigil for Global Heritage, marking the tenth anniversary of the looting of the National Museum of Iraq in Baghdad. This year, SAFE encourages individuals and institutions to light a candle and share their remembrances and thoughts on the current situation, contemplate the future, and take the opportunity to announce their related projects and programs related to preserving our shared cultural heritage. Whether you are an expert or an “ordinary” concerned citizen, SAFE wishes to hear from you.
To observe the vigil, SAFE has launched a three-month global awareness campaign, 10 Years After, from April 10 to July 1, 2013 (also on Facebook). The organization is highlighting the efforts of individuals and institutions dedicated to global-heritage preservation; the global concern of looting and the illicit antiquities trade; how public awareness can contribute to the solution; and the many ways you participated in the Global Candlelight Vigil around the world.
These comments and reflections will be posted on SAFE’s website and disseminated via social media. Furthering the group’s commitment to raising public awareness about the global concern of looting and the illicit antiquities trade, SAFE will gather these reflections in a memorial booklet as a public statement of concern and as a tribute to all those who safeguard the future of our past.
As a nonprofit dedicated to preserving cultural heritage worldwide, SAFE initiated the Global Candlelight Vigil for the Iraq museum in 2007 with Donny George, the museum’s former director, to commemorate the looting of the museum, which became the impetus for the founding of the organization. Individuals and institutions from around the world hosted and attended lectures and candle-lighting ceremonies. A video of these events was compiled to mark the fifth anniversary. In 2011, the vigil was renamed to honor the memory of George, who died that year.
Committee on Women in the Arts Picks for May 2013
posted by CAA — May 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.
May 2013
Hung Liu, Avant-Garde, 1993, oil on shaped canvas and on wood, 116 x 43 in. Collection of Hung Liu and Jeff Kelley (artwork © Hung Liu)
Summoning Ghosts: The Art of Hung Liu
Oakland Museum of California
1000 Oak Street, Oakland, CA 94607
March 16–June 30, 2013
Curated by René de Guzman, Summoning Ghosts: The Art of Hung Liu is the first comprehensive survey of one of the most prominent Chinese painters working in the United States. It features approximately eighty paintings as well as personal ephemera, such as photographs, sketchbooks, and informal painting studies from private and public collections around the world. Bringing together examples of her socialist-realist drawings from the 1970s, made at the height of the Cultural Revolution in China, with paintings realized since her immigration to the United States in 1984, Summoning Ghosts offers an illuminating exploration of Liu’s development and technical experimentation and captures the expressive bending of her training as social realist and muralist in Maoist China and the sophisticated ways in which she interlaces portraiture and documentation for her exploration of memory and history, among other themes.
Wangechi Mutu: A Fantastic Journey
Nasher Museum of Art
Duke University, 2001 Campus Drive, Durham, NC 27705
March 21–July 21, 2013
Bringing together about fifty works from the mid-1990s to the present, including previously unseen sketchbooks, this first comprehensive survey of the internationally renowned artist Wangechi Mutu thoroughly investigates her work and its contribution to transnational feminism, Afrofuturism, and globalization. It also presents the artist’s first-ever animated video, made with the pop producer and singer Santigold, commissioned for the Nasher Museum, as well as site-specific installations that enliven her collages. Organized by Trevor Schoonmaker, A Fantastic Journey is accompanied by a major catalogue that contains essays by the artist and the curator, as well as texts by dream hampton, Kristine Stiles, and Greg Tate.
Gina Pane, Azione Sentimentale, 1973, seven color photographs on wood panel, 48¼ x 40⅛ in. (artwork © Gina Pane; photograph by Francoise Masson and provided by ADAGP, Anne Marchand, and Kamel Mennour, Paris)
Parallel Practices: Joan Jonas and Gina Pane
Contemporary Arts Museum Houston
5216 Montrose Boulevard, Houston, TX 77006
March 22–June 30, 2013
Presented in the Brown Foundation Gallery, Parallel Practices celebrates two major female contributors to early performance art working on both sides of the Atlantic—Joan Jonas and Gina Pane—and captures the complementary and disparate natures of their contemporaneous practices. To illuminate the multidisciplinary apects of their work as an essential element of their performative poetics, the exhibition brings together a great selection of early and later sculpture, photography, video, drawing, installations, and performances. Importantly, Parallel Practices is the first major presentation of Pane’s work in the United States and accompanied by an illustrated catalogue that explores the intersections of the two artists through texts by the art historians Barbara Clausen, Élisabeth Lebovici, and Anne Tronche, as well as an essay by the exhibition’s curator, Dean Daderko.
Les Immémoriales
49 Nord 6 Est – Fonds Régional d’Art Contemporain de Lorraine
1 bis, rue des Trinitaires
F-57000 Metz, France
March 2–June 23, 2013
A rare meeting of Agnes Denes (b. 1931, Hungary), Monica Grzymala (b. 1970, Poland), and Cecilia Vicuña (b. 1948, Chile) at Frac Lorraine by means of three installations that poetically interweave past and future through references to the rituals, languages, and material culture of Andean, Native American, and Australian Aboriginal people, Les Immémoriales offers an evocative contemplation on “the vital connection of human and Earth” with timely political resonance. The exhibition also ruminates on timeless questions regarding our passing from Earth and addresses a variety of political issues that hint at its modern abuses.
Gillian Wearing, Signs that say what you want them to say and not Signs that say what someone else wants you to say, I’M DESPERATE, 1992–93, c-type print mounted on aluminium, 44.5 x 29.7 cm (artwork © Gillian Wearing)
Gillian Wearing
Pinakothek der Moderne
Museum Brandhorst, Theresienstraße 35, 80333 Munich, Germany
March 21–July 7, 2013
Gillian Wearing’s first major retrospective in Germany showcases photographic works and film installations, providing an overview of her entire oeuvre and illuminating the sophisticated ways in which this British artist uses portraiture to make social relationships visible. Organized by Bernhart Schwenk and meant to travel to London and Düsseldorf, Gillian Wearing is distinguished by the evocative framing of Wearing’s works through several pieces by Andy Warhol from the museum’s collection.
Marie Laurencin
Musée Marmottan Monet
2 Rue Louis Boilly 75016 Paris, France
February 21–June 30, 2013
The first French museum exhibition to celebrate the work of Marie Laurencin (1883–1956), one of the most successful female artists of the first half of the twentieth century in Paris, features more than ninety paintings.
Kara Walker: Rise Up Ye Mighty Race!
Art Institute of Chicago
111 South Michigan Avenue, Chicago, IL 60603
February 21–August 11, 2013
Kara Walker returns to the cut-paper medium in monumental form for a new commissioned installation that includes five large framed graphite drawings and forty small framed mixed-media pieces, along with cut-paper silhouettes. The exhibition’s title refers to comments made by Barack Obama in his 1995 book, Dreams from My Father, about the challenges of community organizing in Chicago, in which he quotes the Jamaican political leader Marcus Garvey. Merging handwritten text with images, the work revolves around The Turner Diaries, written in 1978 by the white nationalist William Luther Pierce; it also investigates the notion of “race war” as it exists in the contemporary imagination. Walker has referred to the work as “a kind of paranoid panorama wall work—with supplemental drawings large and small, to chronicle what can be called a diary of my ever-present, never-ending war with race.”
Installation view of As it were … So to speak at the Jewish Museum (photograph by David Heald)
As it were … So to speak: A Museum Collection in Dialogue
with Barbara Bloom
Jewish Museum
1109 Fifth Avenue, New York, NY 10128
March 15–August 4, 2013
Inspired partly by Talmudic discourse unfolding across time and space and capitalizing on the use of objects as “placeholders for thoughts,” the artist Barbara Bloom interestingly weaves artworks and objects from the Jewish Museum’s permanent collection with her own texts, creating polysemous narratives and unpredictable encounters that pressure and energize the museum experience.
Someday Is Now: The Art of Corita Kent
Frances Young Tang Teaching Museum and Art Gallery
Skidmore College, 815 North Broadway, Saratoga Springs, NY 12866
January19–July 28, 2013
The well-deserved attention that Sister Corita (1918–1986) has been receiving internationally during the past couple years is topped with this major survey of her work, organized by Ian Berry and Michael Duncan, that brings together more than two hundreds items spanning her entire career. Someday Is Now offers serigraphs, paintings, ephemera, and videos of protests and performances with her students that illustrate the complexities of Sister Corita’s visual language as a printmaker and capture the diversity of her political agenda as an activist, teacher, and Catholic nun. An extensive catalogue that sheds further light on the complexities of her life and work accompanies the exhibition.
LaToya Ruby Frazier, Grandma Ruby and Me, 2005, gelatin silver photograph, 15½ x 18½ in. Brooklyn Museum, Emily Winthrop Miles Fund, 2011.63.1 (artwork © LaToya Ruby Frazier)
LaToya Ruby Frazier: A Haunted Capital
Brooklyn Museum
200 Eastern Parkway, Brooklyn, NY 11238
March 22–August 11, 2013
With about forty photographs of the artist’s family and their hometown of Braddock, Pennsylvania—a formerly prosperous steel-mill town that became a “distressed municipality” of fewer than 2,500 residents—LaToya Ruby Frazier: A Haunted Capital showcases the way the artist uses social documentary and portraiture to metaphorize an industrial town’s decline, comment on the effects of deindustrialization on individuals and communities, and critique recent forms of Braddock’s corporate exploitation that continue to threaten and distort the dire realities of the working-class community to which her family belongs.
Affiliated Society News for May 2013
posted by CAA — May 09, 2013
American Institute for Conservation
The American Institute for Conservation of Historic and Artistic Works (AIC) is hosting its 2013 annual meeting in Indianapolis, Indiana, from May 29 to June 1, 2013. Its theme, “The Contemporary in Conservation,” will focus on contemporary approaches to conservation—not only the conservation of contemporary art—and include perspectives from both within and outside the field. In addition to the treatment of contemporary art, the conference will consider digitization, environmental sustainability, and the effects of architectural design on the preservation of objects as well as current trends in exhibition design and the new challenges they present for preservation, including greater physical access, longer display times, and more touring exhibitions. Learn more about the upcoming AIC meeting at www.conservation-us.org/meetings and join the organization for the lively discussions that will take place.
Art Libraries Society of North America
The Art Libraries Society of North America (ARLIS/NA) and the Visual Resources Association Foundation (VRAF) will once again sponsor the Summer Educational Institute for Visual Resources and Image Management (SEI), to be held June 18–21, 2013, at the University of Michigan in Ann Arbor. This collaborative professional training program, now in its tenth year, addresses the evolving requirements of image-management professionals. Expert instructors will cover intellectual-property rights, offer a hands-on digital-imaging workshop, and describe best practices and tools for metadata and cataloging. A “think-camp” discussion session will identify topic preferences from registrants, such as the future of the profession, uses of social and new media, visual literacy, and the digital humanities. More than four hundred people serving in a range of professional roles have benefited from past SEIs, including art historians, visual-resources curators, university librarians, archivists, and museum professionals responsible for image rights and reproductions. For more information, please contact the SEI cochairs: Betha Whitlow or Amy Trendler.
Historians of German and Central European Art and Architecture
During CAA’s 2013 Annual Conference in New York, the Historians of German and Central European Art and Architecture (HGCEA) hosted a two-part panel, “Central Europe’s Others in Art and Visual Culture,” chaired by Brett Van Hoesen and Elizabeth Otto, and an Emerging Scholars panel, led by Keith Holz. HGCEA also organized a dinner party at the Scandinavia House, which was attended by about sixty members of the society. The gathering celebrated the achievements of two retiring colleagues, Françoise Foster-Hahn and Reinhold Heller. Former HGCEA president Steven Mansbach delivered a eulogy on Foster-Hahn, and present board member Jay Clark did the same for Heller. The current HGCEA president, Marsha Morton, presented the prize for the winner of HGCEA’s first essay contest to Pepper Stetler and bestowed honorary mention to Amy Hamlin and Elizabeth Brisman. The contest was an initiative for the encouragement and recognition of young scholars. Sixteen essays published during 2011 and 2012 were submitted. A new appeal will be issued for essays published in 2012.
Historians of Netherlandish Art
The Historians of Netherlandish Art (HNA) has published the winter 2013 issue of the open-access, refereed electronic journal, the Journal of Historians of Netherlandish Art. Contents include articles by Sally Whitman Coleman, Matthijs Ilsink and Monica Marchesi, and Elizabeth Sutton, as well as translations of part one and two of D. C. Meijer Jr.’s “The Amsterdam Civic Guard Portraits within and outside the New Rijksmuseum.”
HNA solicits session and workshop proposals for the organization’s quadrennial conference, to be held in Boston, Massachusetts, June 5–7, 2014. For the first time, this event will take place together and in cooperation with the conference of the American Association for Netherlandic Studies. HNA welcomes proposals for sessions that represent new directions in the study of Netherlandish art between 1350 and 1750. Proposals may focus on individual disciplines within this chronological spectrum or feature interdisciplinary approaches and collaborative endeavors. Sessions will be two hours long with a maximum of four papers each. HNA also invites proposals for workshops designed to allow for group discussion of focused topics. Workshop proposals should define the matter to be addressed and describe how discussion will be generated. Prospective session and workshop proposals should be sent via email by May 15, 2013, to Paul Crenshaw, chair of the program committee.
International Sculpture Center
The International Sculpture Center (ISC) will hold the 2013 International Sculpture Symposium in Miami, Florida, from December 1 to 4, 2013. The program is cosponsored by Florida International University and the Patricia and Phillip Frost Art Museum and will comprise daytime and evening programming, including keynote addresses, panel discussions, and an iron pour led by the international sculptor Coral Lambert, joined by Iron Maidens and other selected artists. The symposium marks the first ISC program held in the city of Miami, spans four days, and precedes Art Basel Miami Beach, which takes place December 5–8. Artists and enthusiasts from around the world will have the opportunity to participate in a week of dynamic cultural events. Please visit www.sculpture.org/miami2013 for more details and to join the Miami event mailing list to receive updates as they become available. Discounted early-bird registration for ISC members opens on June 1. Questions should be directed to events@sculpture.org or 609-689-1051, ext. 302.
Italian Art Society
The Italian Art Society (IAS) has announced its new officers and committee members: Cathleen A. Fleck, president; Sheryl E. Reiss, executive vice president; and Nicola Camerlenghi, vice president for programming. The Awards Committee now includes Janis Elliott (chair), Jill Pederson, and Eve Straussman-Pflanzer. Joining the Nominating Committee are Brian Curran (chair) and Janna Israel. The Program Committee welcomes Dorothy Glass and Rebekah Perry, and the Graduate Student and Emerging Scholars Committee greets its new members, Sarah Wilkins and Ashley Elston. IAS thanks those whose terms have ended for their service.
IAS will sponsor four sessions at the International Congress for Medieval Art in Kalamazoo, Michigan; see the IAS website for the titles and the names of the speakers. IAS seeks proposals for papers for its two 2014 CAA Annual Conference sessions: “Periodization Anxiety in Italian Art: Renaissance, Baroque, or Early Modern?” (chairs: Frances Gage and Eva Struhal); and “‘Futuro Anteriore’: Cultural Self-Appropriation as Catalyst in the Art of Italy”(chairs Alison Perchuk and Irina D. Costache). Please visit the IAS website for the CAA session descriptions and submission instructions. Deadline: May 6, 2013.
The speaker of the fourth annual Italian Art Society–Kress Foundation Lecture Series in Italy is Sarah Blake McHam of Rutgers University, who will present “Laocoön, or Pliny Vindicated” at the Fondazione Marco Besso in Rome on Tuesday, May 28, 2013, at 6:00 PM.
Mid-America College Art Association
The board of the Mid-America College Art Association (MACAA) will hold a retreat May 24–25, 2013, in San Antonio, Texas, in preparation for its 2014 conference, which will be hosted by the University of Texas at San Antonio (UTSA). The conference chair is Scott Sherer, and the UTSA institution coordinator is Gregory Elliot. The conference contact is Laura Crist, who can be reached at macaa2014@utsa.edu or 210-458-4391. Conference details will be posted on the MACAA and conference websites, as planning develops.
National Council of Arts Administrators
From September 25 to 28, 2013, Virginia Commonwealth University in Richmond will host the forty-first annual conference of the National Council of Arts Administrators (NCAA), which will focus on reexamining the value of uncertainty and doubt in the arts. The gathering will also spotlight current trends in arts administration; offer forums, speakers, and workshops; and create opportunities to network within a diverse community of higher-education arts professionals. You can expect top-notch speakers, timely and forward-looking sessions, an engaging administrator’s workshop, and much more. NCAA enthusiastically welcomes new members and any interested parties to its events. Learn more about the 2013 conference.
New Media Caucus
The New Media Caucus (NMC) has announced the results of the elections for president, treasurer, and board members. The new president is Vagner Whitehead, associate professor at Oakland University. His term as president-elect begins immediately and runs until the 2014 CAA Annual Conference in Chicago, when he will become president at the 2014 annual business meeting. Reelected as treasurer is Jim Jeffers, visiting lecturer at College of the Holy Cross, who has been actively involved in NMC leadership since the organization’s founding ten years ago. He has served as treasurer for the past two years, a critical position as NMC pursues 501(c)(3) status. Joining the board are Victoria Bradbury, a researcher at the Curatorial Resource for Upstart Media Bliss, University of Sutherland; Mina Cheon, interdisciplinary professor, Maryland Institute College of Art; Carlos Rosas, associate professor, Pennsylvania State University; and Jessica Westbrook, assistant professor, School of the Art Institute of Chicago. View a listing of the entire NMC board of directors and officers and the constitution and bylaws, which describes the terms and election processes.
Public Art Dialogue
At the 2013 CAA Annual Conference in New York, Public Art Dialogue (PAD) sponsored Sally Webster’s session, “Reconsidering Mural Painting: New Methodologies,” which featured five papers: “In the Making: Mural Painting and the Look of Reform in Theodore Roosevelt’s America” by Annelise K. Madsen; “Picturing Jewish History in 1920s Hollywood: The Murals in the Wilshire Boulevard Temple” from MacKenzie Stevens; “‘No Vain Glory’: Cartography and Murals in the American War Cemeteries in France” by Kate C. Lemay; “Looking Beyond ‘The Wall’: Reconstructing City Walls’ Gateway to Soho” from Andrew Wasserman; and “The Renewed ‘Spirit of Hyde Park’: A Case Study in Mural Restoration” by Emily Scibilia. Sarah Schrank was the discussant. A roundtable chaired by Norie Sato on “Time, Transience, Duration” featured presentations by Penny Balkin Bach, Renee Piechocki, and Marisa Lerer.
Penny Balkin Bach of the Association for Public Art (aPA), based in Philadelphia, Pennsylvania, received PAD’s annual lifetime achievement award. Bach has been in the field since the early 1970s, and under her leadership aPA (formerly called the Fairmount Park Art Association, whose staff she joined in 1980) has sponsored numerous groundbreaking installations and special projects. Open Air, which premiered in October 2012, was a spectacular interactive light installation by Rafael Lozano-Hemmer along the Benjamin Franklin Parkway. Bach’s tireless and innovative work has transformed the field of public art.
Society for Photographic Education
The Society for Photographic Education (SPE) seeks proposals for “Collaborative Exchanges: Photography in Dialogue,” its fifty-first national conference, to be held March 6–9, 2014, in Baltimore, Maryland. SPE is accepting proposals for the 2014 conference through June 1, 2013. Topics, which are not required to be theme based, may include but are not limited to: image making, history, contemporary theory and criticism, new technologies, effects of media and culture, educational issues, and funding. Membership in SPE is required to submit, and all proposals are peer reviewed. Descriptions for the five presentation formats follow:
- Graduate Student: short presentation of your own artistic work and a brief introduction to your graduate program
- Imagemaker: presentation on your own artistic work (photography, film, video, performance, installation, multidisciplinary approaches)
- Lecture: presentation on historical topic, theory, or another artist’s work
- Panel: a group led by a moderator to discuss a chosen topic
- Teach: presentations, workshops, or demos that address educational issues, including teaching resources and strategies; curricula to serve diverse artists and changing student populations; seeking promotion and tenure; avoiding burnout, and professional exchange
Visit the website for information on how to join SPE and for full proposal guidelines.
Society for the Study of Early Modern Women
The Society for the Study of Early Modern Women (SSEMW) has announced the names, fields, and affiliations of its officers and committee members for 2013: the new president is Jane Couchman, French and women’s studies, York University; the new vice president is Megan Matchinske, comparative literature and English, University of North Carolina, Chapel Hill; a past president is Allyson Poska, history, Mary Washington University; a second past president is Pamela Benson, English, Rhode Island College; the new treasurer is Deborah Uman, English, St. John Fisher College; the new secretary is Abby Zanger, French, independent scholar; and the new web and listserv coordinator is Karen Nelson, Center for Literary and Comparative Studies, English, University of Maryland, College Park.
The Executive Committee now comprises: Eve Straussman-Pflanzer, art, Art Institute of Chicago; Shannon Miller, English, Temple University; Michelle Dowd, English, University of North Carolina, Greensboro; Meredith Ray, Italian and women’s studies, University of Delaware; Renee Baernstein, history, Miami University; Sheila Cavanaugh, English, Emory University; and Lauren Shook, English, University of North Carolina, Greensboro.
The Awards Committee will consist of: Marina Leslie, English, Northeastern University (chair for 2013); Heidi Brayman Hackel, English, University of California, Riverside; Wendy Heller, music, Princeton University; Mary Nyquist, women and gender, University of Toronto; Eleanor Hubbard, history, Princeton University; Bronwen Wilson, art history, University of British Columbia; Leah Chang, French, George Washington University; Sheila ffolliott, art history, George Mason University (emerita); and Sarah Ross, English, Massey University.
For additional information, including members of the Nominating Committee, please see About SSEMW section on http://ssemw.org.
Society of Architectural Historians
The Andrew W. Mellon Foundation has awarded a one-year grant of $51,330 to the Society of Architectural Historians (SAH) to administer the SAH/Mellon Author Awards. The award is a temporary measure to provide financial relief to early-career scholars who are publishing monographs on architectural history and the history of the built environment and responsible for paying for rights and permissions for images in their publications. Through this grant SAH will provide awards to emerging scholars (those with PhDs earned during the past six years) to help defray the high costs of image licensing and reproduction for monographs on the history of the built environment. Awards will be made once in 2013 for print (hardcover, softcover) and digital publications (ebook, DVD). Awardees will be selected on the basis of the quality and demonstrated financial need for their project. SAH anticipates awarding approximately ten SAH/Mellon Author Awards in 2013. Deadline: June 1, 2013.
Society of Historians of East European, Eurasian, and Russian Art and Architecture
In response to increasing interest in the field, the Society of Historians of East European, Eurasian, and Russian Art and Architecture (SHERA) is extending its activities with renewed vigor under new leadership. After voting in January 2013, Margaret Samu was elected president, and Natasha Kurchanova was chosen vice president and will serve as president-elect. Yelena Kalinsky has become secretary-treasurer, and Inge Wierda will be the society’s webmaster. Joining them on the board of directors are Kathleen Duff, Eva Forgacs, Mark Svede, Danilo Udovicki, and Alla Vronskaya.
SHERA sponsors sessions and holds regular meetings at both CAA and the Association for Slavic, East European, and Eurasian Studies, maintains an active listserv and Facebook page, and is currently creating a new website. New members are welcome; please direct your inquiries to SHERA.artarchitecture@gmail.com for more information.
Society of North American Goldsmiths
The Society of North American Goldsmiths (SNAG) will hold its forty-second annual conference from May 15 to 18, 2013, in Toronto, Ontario, at the downtown historic Fairmont Royal York Hotel. Titled “Meta-Mosaic,” the event will celebrate the multiple industries within jewelry and metalsmithing in the twenty-first century. Toronto is a mosaic of peoples and cultures as well as the center of Canada’s jewelry industry. This conference will examine a fluid identity within art, craft, and design and inspire attendees to embrace a collective mosaic. Join SNAG for presentations and panels featuring industry luminaries from across the globe, rapid-fire presentations by international designers and artists, over twenty exhibition, the third annual member Trunk Show Sale, social events, and so much more! Online registration has closed, but you can still register onsite beginning at 3:00 PM on May 15.
Visual Resources Association
The Art Libraries Society of North America (ARLIS/NA) and the Visual Resources Association Foundation (VRAF) will once again sponsor the Summer Educational Institute for Visual Resources and Image Management (SEI), to be held June 18–21, 2013, at the University of Michigan in Ann Arbor. This collaborative professional training program, now in its tenth year, addresses the evolving requirements of image-management professionals. Expert instructors will cover intellectual-property rights, offer a hands-on digital-imaging workshop, and describe best practices and tools for metadata and cataloging. A “think-camp” discussion session will identify topic preferences from registrants, such as the future of the profession, uses of social and new media, visual literacy, and the digital humanities. More than four hundred people serving in a range of professional roles have benefited from past SEIs, including art historians, visual-resources curators, university librarians, archivists, and museum professionals responsible for image rights and reproductions. For more information, please contact the SEI cochairs: Betha Whitlow or Amy Trendler.
Solo Exhibitions by Artist Members
posted by CAA — April 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.
April 2013
Abroad
Grimanesa Amorós. Litvak Gallery, Tel Aviv, Israel, February 14–May 23, 2013. Light between the Islands. Installation.
Mark Staff Brandl, Self-Portrait, 2013, oil on canvas, 75 x 32 in. (artwork © Mark Staff Brandl)Mark Staff Brandl. Jedlitschka Gallery, Zürich, Switzerland, February 28–April 18, 2013. My Metaphor(m): a Painting-Installation. Painting and installation based on his PhD dissertation.
Mid-Atlantic
Jeffrey Abt, Wandering Gallery project (workspace), 2013, oil on panel and mixed media, 49 x 29 x 3½ in. (open) (artwork © Jeffrey Abt)Jeffrey Abt. King Street Gallery, Morris and Gwendolyn Cafritz Foundation Arts Center, Montgomery College, Takoma Park, Maryland, February 8–March 14, 2013. Jeffrey Abt: Observations/Contemplations. Paintings and mixed media.
Ander Mikalson. Temple Contemporary, Temple University, Philadelphia, Pennsylvania, January 30–February 12, 2013. A Score for a Dinosaur. Performance.
Northeast
Ander Mikalson. Institute for Contemporary Art, Maine College of Art, Portland, Maine, January 23–April 7, 2013. A Score for Two Dinosaurs. Performance.
Joseph S. Lewis III. The Phatory, New York, February 2–March 31, 2013. Security Blanket. Dye sublimation prints on polyester quilts.
Thomas Matsuda, Purification, 2011, rubbing of charred wood from the burning of Purification sculptures at Morton Arboretum in Lisle, Illinois, on handmade paper with flower petals, 24 x 30 in. (artwork © Thomas Matsuda)Thomas Matsuda. East Wing Gallery, Raymond M. LaFontaine Fine Arts Center, Mount Wachusett Community College, Gardner, Massachusetts, February 18–March 15, 2013. Purification. Sculpture and work on paper.
South
Kathryn Kelley. Art League Houston, Houston, Texas, January 18–March 8, 2013. The Uncontrollable Nature of Grief and Forgiveness (or lack of). Installation.
Sharon Louden. Holly Johnson Gallery, Dallas, Texas, April 6–June 22, 2013. Simple Strokes. Animation, painting, drawing, and sculpture.
West
Invitation card for Elegies: A Project in Print (artwork © Mara De Luca)Mara De Luca. Irvine Fine Arts Center, Irvine, California, March 9–April 20, 2013. Elegies: A Project in Print. Intaglio and silkscreen printmaking.
Mara De Luca. Luis De Jesus Gallery, Los Angeles, California, February 23–March 30, 2013. Cruise Collection 2013: New Paintings by Mara De Luca. Painting.
Micol Hebron. Jancar Gallery, Los Angeles, California, March 9–April 13, 2013. Reverse Engineering. Video, performance, and wall works.
Kim Shifflet, Trapped at the Border, 2010, oil on canvas, 42 x 48 in. (artwork © Kim Shifflet)Kim Shifflett. Branigan Cultural Center Museum, Las Cruces, New Mexico, April 5–27, 2013. Borderland. Painting.
Molly Springfield. Steven Wolf Fine Arts, San Francisco, California, January 26–March 9, 2013. The Marginalia Archive. Drawing and installation.
Claire Zitzow. White Box, University of Oregon, Portland, Oregon, February 7–March 23, 2013. Remains to Be Seen. Inkjet, silk-screened, and embossed prints, video, light boxes, and installation.
Resale Royalty Agenda
posted by CAA — April 19, 2013
Anne Collins Goodyear, president of the CAA Board of Directors and associate curator of prints and drawings at the National Portrait Gallery, Smithsonian Institution, will represent CAA at the United States Copyright Office public roundtable on resale royalties for artists, to be held on April 23, 2013, in Washington, DC. Please download and review the agenda for the roundtable.
Act Now – Ask Your Senators to Support the IMLS Office of Museum Services!
posted by CAA — April 18, 2013
The American Alliance of Museums (AAM) sent the following email on April 17, 2013.
Act Now – Ask Your Senators to Support the IMLS Office of Museum Services!
Again this year, museum champion Senator Kirsten Gillibrand is circulating a letter urging the Senate Appropriations Committee to provide robust funding in FY14 for the Office of Museum Services (OMS) at the Institute of Museum and Library Services (IMLS).
The deadline to sign on to this letter is Wednesday, April 24, 2013.
Ask your Senators to sign the OMS appropriations letter today!
House OMS Letter Sets New Record; Keep Momentum Going in the Senate!
The House version of this year’s OMS appropriations letter has already closed and, while we’re still tabulating the final list of signers, we do know that a new record of at least 95 Representatives signed the letter.
“This year’s record-setting effort in the House of Representatives is a testament to the hard work of museum advocates nationwide,” said Alliance President Ford W. Bell. “But we can’t afford to lose any momentum, so I hope everyone will take one minute to contact their Senators today.”
The Office of Museum Services received $30.8 million in the FY12 appropriations cycle, but was cut to $29.2 million in FY13 as a result of across-the-board cuts known as “sequestration.” While President Obama has proposed increasing its budget in FY14, the Office of Museum Services’ funding will ultimately be decided by Congress, so it is imperative that legislators hear from their constituents.
Thank you for taking action on this important issue!
Please visit www.aam-us.org/advocacy to learn more about Alliance advocacy for museums.
People in the News
posted by CAA — April 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.
April 2013
Academe
Harris Fogel, an artist and associate professor at University of the Arts in Philadelphia, Pennsylvania, has been appointed director of the photography program in the school’s College of Art, Media, and Design.
Museums and Galleries
Matthew Affron, associate professor of art history at the University of Virginia in Charlottesville and director of special curatorial projects for the school’s Fralin Museum of Art, has joined the Philadelphia Museum of Art in Pennsylvania as the new Muriel and Philip Berman Curator of Modern Art. Affron will begin his new duties on September 1, 2013.
Margarita AguilarMargarita Aguilar, director of El Museo del Barrio in New York since 2011, has resigned from her position. She was also a curator at the museum from 1998 to 2006.
Colin Bailey (photograph by Michael Bodycomb)Colin B. Bailey, deputy director and chief curator of the Frick Collection in New York, has been named director of the Fine Arts Museums of San Francisco in California.
Antonia BoströmAntonia Boström, senior curator of sculpture and decorative arts at the J. Paul Getty Museum in Los Angeles, California, has been appointed director of curatorial affairs at the Nelson-Atkins Museum of Art in Kansas City, Missouri.
Stephen Gleissner, chief curator of the Wichita Art Museum in Wichita, Kansas, has resigned from his position.
Cody HartleyCody Hartley, formerly director of gifts of arts at the Museum of Fine Arts, Boston, in Massachusetts, has become the next director of curatorial affairs for the Georgia O’Keeffe Museum in Santa Fe, New Mexico.
Risha K. LeeRisha K. Lee, formerly a postdoctoral fellow at the National University of Singapore’s Institute for Southeast Asian Studies, has been named Jane Emison Assistant Curator of Indian and Southeast Asian Art at the Minneapolis Institute of Arts in Minnesota.
Kate Nesin, formerly a Mellon fellow at the Toledo Museum of Art in Toledo, Ohio, has joined the Art Institute of Chicago in Illinois as its new associate curator of contemporary art.
Kim Sajet (photograph by Wendy Concannon)Kim Sajet, formerly president and chief executive of the Historical Society of Pennsylvania in Philadelphia, has become the new director of the Smithsonian Institution’s National Portrait Gallery in Washington, DC.
Organizations and Publications
Walter Robinson, formerly editor of Artnet magazine, has been hired as a bimonthly columnist for Artspace.com.
Institutional News
posted by CAA — April 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.
April 2013
China, Qing dynasty (1644–1912), Portrait of Buddhist Monks of Obaku Sect, 1600s, hanging scroll (framed), ink and color on paper, 67½ x 39¼ in. (artwork in the public domain)Case Western Reserve University in Cleveland, Ohio, and the Cleveland Museum of Art have received two grants totaling $250,000 from the Andrew W. Mellon Foundation to support the launch of the redesigned joint doctoral program in art history. The highly selective, object-oriented program features first-hand study of the museum’s comprehensive collections under the guidance of Case Western Reserve faculty and museum staff members. The university and the museum will administer the grant jointly.
The Getty Research Institute in Los Angeles, California, has published approximately 250,000 art-sale records from more than 2,000 German auction catalogues dating from 1930 to 1945 to its free art-historical research resources. The records are part of the Getty Provenance Index database.
The Honolulu Museum of Art in Hawai‘i has secured $540,000 in grants to support exhibitions and educational programs. The Stupski Family Fund has provided the largest gift: a $300,000 award over three years to support the new Honolulu Museum of Art School Sunday. Other funding sources are: the family and friends of Charles Higa ($100,000); the Arthur and Mae Orvis Foundation ($20,000); an anonymous foundation ($50,000); the National Endowment for the Arts ($20,000), and the Freeman Family Foundation ($50,000).
The Kansas City Art Institute in Missouri has consolidated its academic advising and career services operations into a single office, becoming one of the first colleges of art and design in the United States to do so.
Vincent van Gogh, Self-Portrait, 1889, oil on canvas, 22½ x 17¼ in. (artwork in the public domain)The National Gallery of Art in Washington, DC, has announced plans to construct a 12,260 square foot exhibition space to display modern art from the permanent collection. Construction for the new building, to be placed within the footprint of the East Building on the National Mall, will begin in January 2014.