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Affiliated Society News for July 2013

posted by July 09, 2013

American Council for Southern Asian Art

The American Council for Southern Asian Art (ACSAA) invites members to contribute information regarding recent publications, exhibitions, conferences, or other newsworthy items for publication in the 2013 Bulletin. Submissions should be sent to the Bulletin’s editor, Melody Rodari.

Art, Literature, and Music in Symbolism and Decadence

Art, Literature, and Music in Symbolism and Decadence (ALMSD) will present two workshops under the title “Symbolist Movement and Mental Illnesses” at the Congress of Comparative Literature, taking place in July 17–24, 2013, in Paris, France. The moderator for both events is Rosina Neginsky, ALMSD president. The workshops are scheduled for Friday, July 19, between 2:30 and 6:45 PM. Neginsky is also presenting a paper, “Flaubert’s Herodias: Pictorial or Ekphratic?” on Monday, July 22, 2013, between 11:00 AM and 12:30 PM.

Community College Professors of Art and Art History

Community College Professors of Art and Art History (CCPAAH) is reaching out to new members: please visit the blog and keep up with the organization on Facebook. CCPAAH sponsored two sessions over the past year. Both “Teaching All of Our Students: Few Majors, Fewer Transfers, Many Others” at the CAA Annual Conference in New York and “The Value of Writing in the Foundation Year: Exploring New Approaches” at the Foundations in Art: Theory and Education (FATE) biennial conference in Savannah, Georgia, were well attended and very successful.

CCPAAH invites its members to submit proposals for papers to be presented at the next CAA Annual Conference, taking place February 12–15, 2014, in Chicago. The session, “Starting the Conversation: Engaging Students in the Studio and Art History,” will examine innovative ways to engage students in all kinds of courses: studio, digital, art history, art appreciation, and online. Paper topics should highlight best practices and might include: inventive ways to get students engaged in coursework; writing assignments beyond the standard art-history research paper; collaborative work; and using technology to help students become active learners. Please send all questions regarding CAA proposals to CCPAAH@gmail.com. The deadline for submittal of proposals is July 20, 2013. For more information about upcoming events and for general inquiries about the organization, write to CCPAAH@gmail.com.

Historians of Islamic Art Association

The Historians of Islamic Art Association (HIAA) plans to hold its fourth biennial symposium in October 2014 at the new Aga Khan Museum in Toronto, Ontario. The symposium theme and the call for participation will be announced this summer.

International Sculpture Center

On April 25, 2013, International Sculpture Center (ISC) honored Wayne E. Potratz of the University of Minnesota with its prestigious Outstanding Educator Award for 2013. Over one hundred of Potratz’s friends, colleagues, and former students came to witness him receiving the award and to congratulate him on his many exceptional achievements as both an educator and an artist. ISC established the Outstanding Educator Award program in 1996 to recognize individual artist-educators who have excelled at teaching sculpture in institutions of higher learning. Potratz, who earned his master’s degree in 1966 at the University of California, Berkeley, has been a faculty member in the University of Minnesota’s Department of Art since 1969. He chaired the department from 1985 to 1998 and is currently Professor and Scholar of the College. His work has been exhibited in 30 solo or two-person exhibitions and in 340 group exhibitions regionally, nationally, and internationally since 1964; it is also represented in 28 public and corporate collections and in 165 private collections. Potratz was a cofounder of the International Conference on Contemporary Cast Iron Art and has an extensive record of lectures, workshops, and professional service since 1966. For award details or to nominate an outstanding educator, please visit the ISC website.

Italian Art Society

The Italian Art Society (IAS) has announced the location of the fifth annual IAS/Kress Foundation Lecture in Italy for spring 2014: the Università di Pisa. Established North American scholars who wish to speak on ancient to modern art in the region of Pisa and Tuscany are welcome to apply (deadline: January 4, 2014). IAS thanks Sarah Blake McHam of Rutgers University, who spoke to a full house as the fourth annual IAS/Kress Lecture speaker. Her presentation, called “Laocoön, or Pliny Vindicated,” took place at the Fondazione Marco Besso in Rome on May 28, 2013.

IAS is pleased to announce its second Research and Publication Grant up to $1,000 (deadline: November 1, 2013). The society is also accepting applications for two $500 Travel Grants to support graduate students and/or emerging or independent scholars giving conference papers on Italian art in 2014 (deadline: November 1, 2013) and for grants for IAS members abroad to travel and present papers in IAS sessions at American conferences (deadline: October 7, 2013).

IAS had well-attended sessions at the 2013 meetings for CAA, the Renaissance Society of America, and the Society of Architectural Historians, and at the International Congress of Medieval Studies. IAS will sponsor sessions at the same conferences in 2014. See http://italianartsociety.org/conferences-lectures for details.

National Council of Arts Administrators

The 2013 annual conference of the National Council of Arts Administrators (NCAA) is moving to September; registration is now open. The conference, called “Huh? The Value of Uncertainty and Doubt in the Arts,” will convene in beautiful and temperate Richmond, Virginia. Richard Roth and Joe Seipel of Virginia Commonwealth University have ambitious plans for an amazing event, which will offer timely and forward-looking sessions, an administrator’s workshop, a program for partners and spouses, and much more. As always, NCAA enthusiastically welcomes any and all interested professionals to its conference. Register by September 3, 2013, for the advance rate of $275 ($325 after September 3 and $350 onsite). Please also reserve your hotel room by August 26 for the NCAA group rate of $175/night at the beautiful Jefferson Hotel. Please visit the conference website for speakers, schedule, events, travel, and FAQ.

The NCAA website has been redesigned and has migrated to a new hosting service. Please visit the redesigned site to renew your membership and to update your contact information. Membership provides access to the Members Area, where you can post positions, email the membership, create member communities, link to resources for arts administrators, and avail yourself of other valuable services.

Society for Photographic Education

The Society for Photographic Education (SPE) seeks curators, professors, gallerists, art historians, and scholars to review student and/or professional member portfolios at SPE’s fifty-first annual conference in Baltimore, taking place March 6–9, 2014. Portfolio reviewers receive a discounted admission to the four-day event in exchange for their participation. Please visit the SPE website for more information on the conference offerings. To express interest in serving as a portfolio viewer, write to info@spenational.org.

Society of Architectural Historians

The Society of Architectural Historians (SAH) is please to announce the H. Allen Brooks Travelling Fellowship. This new fellowship will provide a $50,000 award to allow a recent graduate or emerging scholar to study by travel for one year. The fellowship is not for conducting research. Instead, Prof. Brooks intended the recipient to study by travel and contemplation while observing, reading, writing, or sketching. The goals of the fellowship are as follows: to see and experience architecture and landscapes firsthand; to think about his or her profession deeply; and to acquire knowledge useful for the recipient’s future work, contribution to the profession, and contribution to society. The fellowship recipient may travel to any country or countries during the one-year period. The application deadline is October 1, 2013.

Society of Historians of East European, Eurasian, and Russian Art and Architecture

The Society of Historians of East European, Eurasian, and Russian Art and Architecture (SHERA) is soliciting proposals of papers for its sponsored session, “Decentering Art of the Former East,” at CAA’s 2014 Annual Conference in Chicago. The session seeks to move beyond traditional binaries of East and West and rethink how the art of the region it studies can be understood in an increasingly global art history. The chairs seek historically grounded case studies of Russian, Eastern European, and Eurasian art from the Byzantine era to modern times that productively explore these issues. Interested contributors should contact the session’s cochairs, Masha Chlenova and Kristin Romberg, for more details. The deadline for proposals is August 1, 2013.

SHERA is delighted to welcome three new institutional members: the Hillwood Estate, Museum, and Gardens in Washington, DC, with its comprehensive collection of Russian imperial art and outstanding research library; the Institute of Modern Russian Culture at the University of Southern California, a major research center dedicated to the intellectual and material culture of Russia; and the Zimmerli Art Museum at Rutgers University, which holds both Russian imperial art and the world’s largest collection of Soviet nonconformist art.

SHERA maintains an active listserv and Facebook page and is currently creating a new website. New individual and institutional members are welcome. Please direct your inquiries for more information to SHERA.artarchitecture@gmail.com.

Visual Resources Association

The thirty-second annual conference of the Visual Resources Association (VRA) will be held in Milwaukee, Wisconsin, from March 12 to 15, 2014. Proposals are now being solicited for the program sessions, workshops, papers, posters, special interest/user groups, and case studies. You access the Google Docs version of the conference proposal form, which can also be found on VRA’s conferences page. Questions about the proposal process and the various presentation formats included in the VRA conference program can be directed to Steven Kowalik, vice president for conference programming. The proposal deadline is July 15, 2013.

Women’s Caucus for Art

The Women’s Caucus for Art (WCA) announces the 2014 recipients of its Lifetime Achievement Awards: Phyllis Bramson, Harmony Hammond, Adrian Piper, and Faith Wilding. The recipients for the 2014 President’s Art and Activism Awards are Janice Nesser-Chu and Hye-Seong Tak Lee. Please join WCA for the awards celebration on Saturday, February 15, 2014, in Chicago. The celebration will be held during the annual WCA and CAA conferences. The awards ceremony, open free of charge to the public, will take place from 6:00 to 7:30 PM, followed by a ticketed gala from 8:00 to 10:00 PM at the Museum of Contemporary Art, Chicago. The ticketed gala will include a walk-around gourmet dinner, open bar, and the opportunity to congratulate the awardees. Mark your calendars! Gala tickets will be available for sale in the fall.

Filed under: Affiliated Societies

Solo Exhibitions by Artist Members

posted by June 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.

June 2013

Abroad

Sam Durant. Museo d’arte contemporanea Roma, Rome, Italy, April 23–September 8, 2013. La stessa storia.

Midwest

Hartmut Austen. Art Building West Gallery, University of Iowa, Iowa City, Iowa, April 16–21, 2013. Grant Wood Fellowship Exhibition. Drawing and painting.

Margi Weir. Kishwaukee College Art Gallery, Malta, Illinois, October 22–November 15, 2012. Margi Weir: Observations and Innuendos. Painting and drawing.

Northeast

Fredericka Foster. Fischbach Gallery, New York, April 25–May 25, 2013. Water Way. Painting.

Ben Grasso. Thierry Goldberg Gallery, New York, June 9–July 14, 2013. Ben Grasso. Painting.

Katerina Lanfranco. Nancy Hoffman Gallery, New York, June 20–August 2, 2013. Wildflowers and Floating Worlds. Mixed-media installation, painting, and sculpture.

Carrie Moyer. Frances Young Tang Teaching Museum and Art Gallery, Skidmore College, Saratoga Springs, New York, January 26–May 19, 2013. Carrie Moyer: Pirate Jenny. Painting.

Jim Osman. Lesley Heller Workspace, New York, March 10–April 14, 2013. Jim Osman: Stack. Sculpture.

Tim Ripley. Denise Bibro Fine Art, New York, April 4–May 11, 2013. Soft Cell. Painting.

Jaune Quick-to-See Smith. Accola Griefen Gallery, New York, February 28–April 6, 2013. Water and War. Painting.

Ann Tarantino. Mixed Greens, New York, March 21–May 24, 2013. Topoanalysis. Installation.

Dannielle Tegeder. Ruth and Elmer Wellin Museum of Art, Hamilton College, Clinton, New York, May 11–July 28, 2013. Dannielle Tegeder: Painting in the Extended Field. Painting, drawing, sculpture, and installation.

Idelle Weber. Hollis Taggart Galleries, New York, March 28–April 25, 2013. Idelle Weber: The Pop Years. Painting, sculpture, collage, watercolor, and gouache.

Idelle Weber. David Findlay Jr. Gallery, New York, March 1–30, 2013. Have It All! Painting.

South

Michael Aurbach. McIlroy Gallery, Mattie Kelly Arts Center, Northwest Florida State College, Niceville, Florida, June 10–July 19, 2013. Work by Aurbach: New and Used. Sculpture.

Kelly Sturhahn. 6th Street Container, Miami, Florida, May 17–July 14, 2013. Transient Patterns. Installation and work on paper.

Margi Weir. York County Center for the Arts, Rock Hill, South Carolina, March 22–April 28, 2013. Social Fabric: Works by Margi Weir. Painting, drawing, and vinyl installation.

West

Julie Green. Jordan Schnitzer Museum of Art, University of Oregon, Eugene, Oregon, March 1–April 7, 2013. Julie Green: The Last Supper. Painted porcelain plates.

Hazel Antaramian Hofman. Armenian Museum, Fresno, California, March 21–August 30, 2013. Repatriation and Deception: Post World War II Soviet Armenia. Painting and drawing.

Michael Ryan. The Lab, San Francisco, California, February 22–March 30, 2013. Mere Reflections. Painting and sculpture.

At the end of a day-long presentation on June 21st, a group of 200 academic corporate and government leaders gathered in the Capitol Atrium to hear “The Heart of the Matter,” a new report created by members of the Commission on the Humanities and Social Sciences  and supported by members of Congress about their personal and professional views on the value of the humanities. The three major goals of the report are to increase the literacy and knowledge of history for all Americans to help build better citizens; to invest in research and teaching; and to expand international cultural knowledge and awareness through the study of languages and international study.

The report addresses the hardest hit disciplines of language and literature as well as the drastically underfunded Fulbright Fellowship programs. Actor John Lithgow cited Senator Fulbright, a champion of the international education program that has benefitted thousands of students and enriched the country in incalculable ways, for a relatively small government investment. The report also calls for greater interactivity and communication between academics and the public and for open access to research. John W. Rowe, cochair of the Commission and retired Chairman and Chief Executive Officer, Exelon Corporation, urged everyone in the humanities to get out in their communities, cities, and states to advocate the value of the humanities. David Brooks, New York Times reporter and PBS commentator, addressed the communication gap between academia and the public. He stated his belief that in the past the humanities’ importance and relevance in society suffered amid the turn toward political, gender, and race issues that severed dialogue between academia and the public, and turned attention  away from the core value of the humanities.

The Commissioners, who are leaders in the corporate, academic, legal, governmental, and philanthropic communities, focused on the value, need for support, and societal applications of the humanities and social sciences. The two recurring themes in the presentations extolled the wisdom of America’s founders who, as Senator Lamar Alexander quoted from the writer David McCullough, were “marinated in the humanities.” And almost every presenter recalled the transformative experience of their own college humanities courses. Pauline Yu, President of the American Council of Learned Societies stated that the country flourishes when it follows the example of its founders. Senator Karl Eikenberry, former U.S. Ambassador to Afghanistan and retired U.S. Army Lieutenant General, cited the need for more informed historians to warn the government against overreaching internationally. He characterized the humanities and social sciences as a wellspring of soft power.

Richard Broadhead, President of Duke University and cochair of the Commission, believes that the major issue facing the country today is how to bring the greatest number of people to reach their fullest abilities. He sees the current discussions about education as narrowing the issues to pragmatic concerns; parents, for example, might say that they do not want their children to study the humanities instead of science, technology, engineering, and math (STEM disciplines).  Broadhead pointed out that the humanities and STEM disciplines are not at opposition but are interrelated and integrated. This concept was, in fact, graphically presented in a promotional film made by Ken Burns and George Lucas which used the image of a stem (read STEM) of a flower (read the humanities).

The report calls for support for the humanities from all sectors of the country, and the program provided many strong arguments to use, value, and nurture them. The hope is that this dialogue will continue on Capitol Hill to restore funding, and that it will provide greater exchange between the academy and the public for greater understanding of the importance of the humanities. Lithgow said he sensed a fresh breeze of bipartisanship that wafted through the Capitol yesterday with the focus on the humanities.

The report does not specifically address the visual arts, but it does address a greater focus on research and teaching in higher education. In the last four years there has been greater national emphasis on K-12 education and this report may assist in bringing the national dialogue around to higher education federal funding. The concept of a Culture Corps similar to AmeriCorps could serve to bring greater public access to the humanities and greater public-academic interchange. And, it could also provide the bridge between graduate school and the career path for students in the humanities. The report is a good catalyst for discussion and change. Let’s hope that the “fresh breeze” continues.

People in the News

posted by June 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.

June 2013

Academe

Luca Buvoli, an interdisciplinary artist, has been appointed director of the Mount Royal School of Art at Maryland Institute College of Art in Baltimore.

Muriel Hasbun, chair of photography at the Corcoran College of Art and Design in Washington, DC, has been promoted to professor at her school.

Jean Robertson, an art historian and professor in the Herron School of Art and Design at Indiana University–Purdue University Indianapolis, has been named Chancellor’s Professor, the highest academic rank at the university.

Rachel Schreiber, formerly director of humanities and sciences at California College of the Arts in Oakland and San Francisco, has become dean and vice president for academic affairs at the San Francisco Art Institute. She will assume her duties on July 1, 2013.

Tanya Sheehan has been promoted to associate professor in the Art History Department at Rutgers University in New Brunswick, New Jersey, where she has taught since 2008. In September 2013 she will take a new position, associate professor of American art, at Colby College in Waterville, Maine.

Museums and Galleries

Peter Barnet, the Michel David-Weill Curator in Charge of the Metropolitan Museum of Art’s Department of Medieval Art and the Cloisters in New York, has been promoted to the newly created position of senior curator. His new position begins on September 1.

Connie Butler, chief curator of drawings at the Museum of Modern Art in New York, has been named chief curator of the Hammer Museum, part of the University of California, Los Angeles. Her new job begins in July.

C. Griffith Mann, deputy director and chief curator of the Cleveland Museum of Art in Ohio, has been appointed Michel David-Weill Curator in Charge of the Department of Medieval Art and the Cloisters at the Metropolitan Museum of Art in New York, succeeding Peter Barnet. He assumes his new position on September 1.

Ugochukwu-Smooth Nzewi, a specialist in modern and contemporary African and African diaspora art, has been appointed the first curator of African art for the Hood Museum of Art at Dartmouth College in Hanover, New Hampshire.

Jonathan F. Walz, curator of the Cornell Fine Arts Museum at Rollins College in Winter Park, Florida, has resigned in order to devote more time to a national traveling exhibition that he is cocurating, This Is a Portrait If I Say So.

Institutional News

posted by June 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.

June 2013

The Meadows Museum of Art at Southern Methodist University in Dallas, Texas, has received a $1 million gift from Linda and William Custard to establish and endow the position of Linda P. and William A. Custard Director of the Meadows Museum and Centennial Chair in the Meadows School of the Arts. The position will also receive an additional $1 million in funding to endow the position.

Grants, Awards, and Honors

posted by June 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.

June 2013

Dora Apel has received a Marilyn Williamson Distinguished Faculty Fellowship for 2013–14, awarded by the Humanities Center at Wayne State University in Detroit, Michigan.

Sarah D. Beetham, a doctoral candidate in the Department of Art History at the University of Delaware in Newark, has received a 2013 Henry Luce Foundation/American Council of Learned Societies Dissertation Fellowship. Her research project is titled “Sculpting the Citizen Soldier: Reproduction and National Memory, 1865–1917.”

Leigh Behnke, an artist and lecturer at the School of Visual Arts in New York, has earned a 2013 fellowship in fine arts from the John Simon Guggenheim Memorial Foundation.

Jill E. Bugajski, a PhD student in the Department of Art History at Northwestern University in Evanston, Illinois, has accepted a 2013 Henry Luce Foundation/American Council of Learned Societies Dissertation Fellowship. She is researching “Totalitarian Aesthetics and the Democratic Imagination in American Art, 1933–1947.”

Mary Katherine Campbell, assistant professor of art history in the School of Art at the University of Tennessee, Knoxville, has earned a 2013 ACLS Fellowship from the American Council of Learned Societies. Her project is called “Mormon Porn: Charles Ellis Johnson’s Stereographic Sinners and Latter-Day Saints.”

Cora Cohen, an artist based in Long Island City, New York, has received a 2013 fellowship in fine arts from the John Simon Guggenheim Memorial Foundation.

Huey Copeland, associate professor of art history at Northwestern University in Evanston, Illinois, has been given a 2013 ACLS Fellowship from the American Council of Learned Societies. He will use the funds to work on his project, “In the Arms of the Negress: A Brief History of Modern Artistic Practice.”

Katelyn D. Crawford, a doctoral student in the McIntire Department of Art at the University of Virginia in Charlottesville, has accepted a 2013 Henry Luce Foundation/American Council of Learned Societies Dissertation Fellowship to continue work on “Transient Painters, Traveling Canvases: Portraiture and Mobility in the British Atlantic, 1750–1780.”

Elise Dodeles has been awarded a 2013 New Jersey Individual Artist’s Fellowship for Painting from the New Jersey State Council on the Arts.

Klint Ericson, a doctoral student in the Art Department at the University of North Carolina, Chapel Hill, has earned a 2013 Henry Luce Foundation/American Council of Learned Societies Dissertation Fellowship. He will continue working on “Sumptuous and Beautiful, As They Were: Architectural Form, Everyday Life, and Cultural Encounter in a Seventeenth-Century New Mexico Mission.”

Coco Fusco, an artist based in Brooklyn, New York, has won a 2013 fellowship in film and video from the John Simon Guggenheim Memorial Foundation.

Mary D. Garrard, professor emerita of art history at American University in Washington, DC, visited the University of Miami in Coral Gables, Florida, as Stanford Distinguished Professor in the Humanities in February 2013. While in residence, Garrard delivered the keynote address for a conference celebrating the university’s Center for the Humanities as the new publication site for Early Modern Women: An Interdisciplinary Journal; she also gave another plenary session lecture for conferees.

Ann Eden Gibson, professor emerita of art history at the University of Delaware in Newark, has won the Georgia O’Keeffe Foundation’s Research Center Book Prize for Abstract Expressionism: Other Politics (1997). The triennial $5,000 prize honors the author of a significant book on some aspect of American modernism published from the mid-1980s to 2009.

Sharon Harper, an artist and associate professor of visual and environmental studies at Harvard University in Cambridge, Massachusetts, has received a 2013 fellowship in photography from the John Simon Guggenheim Memorial Foundation.

Guy Heedren, professor of art at Williams College in Williamstown, Massachusetts, has won a 2013 fellowship in fine-arts research from the John Simon Guggenheim Memorial Foundation.

Laura Turner Igoe, a graduate student in art history at Temple University’s Tyler School of Art in Philadelphia, Pennsylvania, has received a 2013 Henry Luce Foundation/American Council of Learned Societies Dissertation Fellowship. Her research project is called “The Opulent City and the Sylvan State: Art and Environmental Embodiment in Early National Philadelphia.”

Sharon Irish, an art and architectural historian, has been awarded a Colston Research Fellowship from the Institute of Advanced Study at the University of Bristol in England for spring 2014, hosted by the Department of Drama: Theatre, Film, and Television, in conjunction with the Productive Margins program. As a Benjamin Meaker Visiting Professor, Irish will continue her research on the artists Stephen Willats and Suzanne Lacy, in collaboration with the Knowle West Media Centre in Bristol. Her project is entitled “In the Margins? Local Knowledge and Self-Organization.”

Susan N. Johnson-Roehr, who recently earned her PhD in architectural history from the University of Illinois, Urbana-Champaign, has been named a New Faculty Fellow by the American Council of Learned Societies. She will take up a two-year position at the University of Virginia in Charlottesville.

Tirza True Latimer, chair of the graduate program in Visual and Critical Studies at California College of the Arts in San Francisco, has received a National Endowment for the Humanities Summer Stipend to complete research for a book, provisionally titled Eccentric Modernisms: Making Differences in the History of American Art.

Megan R. Luke, assistant professor in the Department of Art History at the University of Southern California in Los Angeles, and Sarah B. H. Hamill, assistant professor of art at Oberlin College in Oberlin, Ohio, have received a Collaborative Research Fellowship from the American Council of Learned Societies. Their project is entitled “Sculpture and Photography: The Art Object in Reproduction.”

Lyle Massey, associate professor in the Art History Department at the University of California, Irvine, has been awarded a Frederick Burkhardt Residential Fellowship from the American Council of Learned Societies. She will be in residence at the Huntington Library, Art Collections, and Botanical Gardens in Pasadena to work on her project, “Woman Inside Out: Gender, Dissection, and Representation in Early Modern Europe.”

Carrie Moyer, an artist based in Brooklyn and associate professor of art and art history at Hunter College, City University of New York, has received a 2013 fellowship in fine arts from the John Simon Guggenheim Memorial Foundation.

Jennifer Anne Norman has completed a fall 2012 artist residency at the Sam and Adele Golden Foundation for the Arts, located in New Berlin, New York.

Erin K. Pauwels, a doctoral candidate in the history of art at Indiana University in Bloomington, has received a 2013 Henry Luce Foundation/American Council of Learned Societies Dissertation Fellowship. She continue working on her dissertation, “Sarony’s Living Pictures: Performance, Photography, and Gilded Age American Art.”

Naomi Ruth Pitamber, a doctoral student in art history at the University of California, Santa Barbara, has earned a Mellon/ACLS Dissertation Completion Fellowship from the American Council of Learned Societies. She will continue work on her research project, “Re-Placing Byzantium: Laskarid Urban Environments and the Landscape of Loss, 1204–1261.”

D. Jacob Rabinowitz, a PhD student in the Institute of Fine Arts at New York University, has been awarded a 2013 Henry Luce Foundation/American Council of Learned Societies Dissertation Fellowship to continue his project, “Public Construction: Christo and Jeanne-Claude’s Running Fence.”

Yael Rice, an art historian who teaches at Amherst College in Amherst, Massachusetts, has received a Rare Book School Mellon Fellowship in Critical Bibliography to attend the University of Virginia’s Rare Book School, a three-year program for early-career scholars that seeks to reinvigorate bibliographic studies in the humanities.

Conrad Rudolph, professor of medieval art history at the University of California, Riverside (UCR), has won a 2012–13 Digital Humanities Grant from the National Endowment for the Humanities for a project, “FACES: Faces, Art, and Computerized Evaluation Systems,” that he is researching with his UCR colleagues, Amit Roy-Chowdhury (electrical engineering) and Jeanette Kohl (art history).

D. Fairchild Ruggles, a professor of landscape architecture at the University of Illinois, Urbana-Champaign, has won a 2013 fellowship from the American Council of Learned Societies. The award, which supports individual scholars working in the humanities and related social sciences, will sustain her project, “Shajar al-Durr: The Extraordinary Architectural Patronage of a Thirteenth-Century Egyptian Slave-Queen.”

Gary Schneider, an artist based in Brookhaven, New York, and assistant professor of visual arts in the Mason Gross School of the Arts at Rutgers University in New Brunswick, New Jersey, has received a 2013 fellowship in photography from the John Simon Guggenheim Memorial Foundation.

William Tronzo of the University of California, San Diego, and an affiliate of Università degli Studi Roma Tre has been awarded a multiyear grant from the Getty Foundation for a project he has been working on with Kimberly Bowes of the University of Pennsylvania and Mellon Professor at the American Academy in Rome. Called “Framing the Medieval Mediterranean: Museums and Archaeology in National Discourse,” the project will bring together scholars and museum professionals from North Africa, the Middle East, Europe, and America to discuss their common and divergent aims, methodologies, approaches, and techniques regarding the collection and display of medieval material culture, as well as the influence of national narratives on shaping field- and institution-specific goals. The grant is part of the Getty Foundation’s Connecting Art Histories initiative, which aims to increase scholarly exchange among individuals in key international regions whose economic or political realities have prevented previous collaboration.

Edward Vazquez, assistant professor of the history of art and architecture at Middlebury College in Middlebury, Vermont, has earned a 2013 ACLS Fellowship from the American Council of Learned Societies for his research on “Aspects: Fred Sandback’s Sculpture.”

Fotini Vurgaropulou, an artist based in Brooklyn, New York, has been commissioned by the Backyard Garden and New York’s GreenThumb program to install a 9-foot-tall mixed-media sculpture (steel, paint, copper, and cast resin) in a public garden in the neighborhood of Red Hook. The piece is on view from April 21 to August 4, 2013.

Nancy L. Wicker, professor of art history at the University of Mississippi in Oxford, has been named a recipient of a Digital Humanities Start-Up Grant by the National Endowment for the Humanities to initiate “Project Andvari: A Digital Portal to the Visual World of Early Medieval Northern Europe” with a codirector, Lilla Kopár of the Catholic University and the Institute for Advanced Technology in the Humanities at the University of Virginia.

Alice Pixley Young has accepted a fellowship for a summer residency at the Jentel Artist Residency Program. She will spend the month of July living and working in Banner, Wyoming.

Gregory A. Zinman, who recently earned a doctorate in cinema studies from New York University, has been appointed by the American Council of Learned Societies as a two-year New Faculty Fellow in film at Columbia University in New York.

Exhibitions Curated by CAA Members

posted by June 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.

June 2013

Patricia G. Berman and Pari Stave. MUNCH | WARHOL and the Multiple Image. Scandinavia House, Nordic Center in America, New York, April 27–July 27, 2013.

June Blum. A Celebration of Women’s Art. Cocoa Beach Library, Cocoa Beach, Florida, April 1–19, 2013.

Bruce Boucher. Corot to Cézanne: French Drawings from the Collection of Mr. and Mrs. Paul Mellon at the Virginia Museum of Fine Arts. Fralin Museum of Art, University of Virginia, Charlottesville, Virginia, January 25–June 2, 2013.

Rachel Epp Buller. Postpartum. Erman B. White Gallery of Art, Butler Community Collece, El Dorado, Kansas, March 1–April 5, 2013.

Rachel Epp Buller. Working on the Bias. Stiefel Watson Gallery, Stiefel Theater for the Performing Arts, Salina, Kansas, February 21–April 22, 2013.

Virginia Fabbri Butera. Persona: Externalizing the Psychological Self. Therese A. Maloney Art Gallery, Annunciation Center, College of Saint Elizabeth, Morristown, New Jersey, January 22–April 14, 2013.

Tyrus R. Clutter. Out of Abstraction: Divergent Directions in Late 20th Century Art. Appleton Museum of Art, Ocala, Florida, April 5–June 2, 2013.

Jennifer Farrell. STrAY: Found Poems from a Lost Time. Fralin Museum of Art, University of Virginia, Charlottesville, Virginia, January 25–May 26, 2013.

Lawrence O. Goedde. Traces of the Hand: Master Drawings from the Collection of Frederick and Lucy S. Herman. Fralin Museum of Art, University of Virginia, Charlottesville, Virginia, January 25–May 26, 2013.

Reni Gower. Papercuts. Eleanor D. Wilson Museum, Hollins University, Roanoke, Virginia, May 31–September 14, 2013.

Reni Gower. Heated Exchange: Contemporary Encaustic. Elizabeth Stone Harper Gallery, Harper Center for the Arts, Presbyterian College, Clinton, South Carolina, January 17–February 23, 2013.

Emilie Johnson. Becoming the Butterfly: Landscapes of James McNeill Whistler. Fralin Museum of Art, University of Virginia, Charlottesville, Virginia, January 25–April 28, 2013.

Emilie Johnson. Becoming the Butterfly: Portraits of James McNeill Whistler. Fralin Museum of Art, University of Virginia, Charlottesville, Virginia, April 30–August 4, 2013.

Julian Kreimer. Part of the Story. Lower East Side Printshop, New York, March 20–May 12, 2013.

Preston Thayer. La Florida: 500 Years of Florida Art. Thomas H. Jacobsen Gallery of American Art, Cummer Museum of Art and Gardens, Jacksonville, Florida, January 15–October 6, 2013.

Books Published by CAA Members

posted by 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).

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

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

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

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.

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2013 Candlelight Vigil for Global Heritage

posted by 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.