CAA News Today
Ask Congress to Defeat Proposals to Eliminate NEH Funding
posted by CAA — April 16, 2013
The National Humanities Alliance (NHA) sent the following email on April 15, 2013.
Ask Congress to Defeat Proposals to Eliminate NEH Funding
Dear Humanities Advocate,
There are multiple proposals to eliminate funding to the National Endowment for the Humanities circulating on Capitol Hill as appropriations hearings begin in the House of Representatives this week.
You can help defeat these proposals and ensure a brighter future for federal humanities funding by urging your elected officials to join a bipartisan effort to preserve the NEH. By signing on to House and Senate Dear Colleague letters, your Members of Congress can demonstrate critical support for NEH funding to the appropriations committee members that hold the agency’s future in their hands.
Click here to send a message to your elected officials today. They are waiting to hear from you.
It is critical that you act now. The deadline for Representatives to sign on to the House letter is Wednesday, and the deadline for Senators to sign on to the Senate letter is Friday.
Stephen Kidd, Ph.D.
Executive Director
National Humanities Alliance
Grants, Awards, and Honors
posted by CAA — April 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.
April 2013
Nicole Awai, an artist who lives and works in New York, has been awarded a 2012 grant from the Art Matters Foundation to support travel to La Brea Pitch Lake in Trinidad.
Conrad Bakker, an artist based in Urbana, Illinois, has received a $25,000 grant from the Joan Mitchell Foundation through its 2012 Painters and Sculptors Grant Program.
Mary Bergstein, professor of history of art and visual culture at the Rhode Island School of Design in Providence, has received the 2012 Courage to Dream Book Prize from the American Psychoanalytic Association for her book Mirrors of Memory: Freud, Photography, and the History of Art (Ithaca, NY: Cornell University Press, 2010). The prize is awarded to the book that best promotes the integration of the academic and clinical worlds of psychoanalysis.
Michele Brody, an artist based in New York, has received a commission to create a site-specific outdoor installation for the 2013 Cheng Long Wetlands International Environmental Art Project in Taiwan.
Mara De Luca, an artist from Los Angeles, California, was awarded a residency at the Irvine Fine Arts Center in Irvine, California, where she created a series of prints, using intaglio and silkscreen processes, related to her current work in painting.
Jeffrey Gibson, an artist based in Hudson, New York, has received a $25,000 grant from the Joan Mitchell Foundation through its 2012 Painters and Sculptors Grant Program.
Harris Fogel, associate professor and director of the photography program in the College of Art, Media, and Design at University of the Arts in Philadelphia, Pennsylvania, received support from the US embassy to visit Łódź, Poland, where he was a visiting expert, lecturer, and portfolio reviewer for the 2012 Fotofestiwal, an international festival of photography.
Shelley GazinShelley Gazin has received support from numerous organizations for her contribution to the exhibition Light and Shadows: The Story of Iranian Jews, held in 2012–13 at the Fowler Museum on the campus of the University of California, Los Angeles (UCLA). Gazin accepted a California Documentary Project Grant from the California Council for the Humanities; subsidies from the National Endowment for the Humanities and the Righteous Persons Foundation; and a research fellowship from the Memorial Foundation for Jewish Culture. Additional funding came from the Center for Cultural Innovation, the Center for Iranian Creativity, the Durfee Foundation, and the Dortort Center for Creativity in the Arts at UCLA Hillel, in collaboration with the Iranian Jewish Women’s Organization of Southern California.
Kate Gilmore, an artist working in performance and video, has accepted a 2012 grant from the Art Matters Foundation to support ongoing work.
Janet Goldner was awarded a Fulbright Senior Specialist Grant for travel to Harare, Zimbabwe, to conduct a workshop and develop a collaborative project with young Zimbabwean artists. She also delivered several lectures and talks during her time there (October–November 2012).
June HargroveJune Hargrove, a professor of nineteenth-century art in the Department of Art and Archaeology at the University of Maryland in College Park, has been awarded a Chevalier de l’Ordre des Arts et Lettres from the French government for scholarship that has contributed to knowledge about French art and culture.
Micol Hebron, an artist who lives and works in Los Angeles, California, was an artist in residence on Chloë Flores’s Facebook page for December 2012. Hebron ran four ongoing projects during the month.
Natalie Jeremijenko, an artist and engineer based in New York, has accepted a 2013 Project Grant from Creative Capital in the Emerging Fields category.
Vishal Jugdeo has accepted a 2012 grant from the Art Matters Foundation to support a video project in Kolkata, India, involving the port of departure, globalization, and tolerance of marginal sexualities.
Tony Labat, an artist who works in performance, video, sculpture, and installation, has been selected as one of ten recipients of the Artadia Awards 2013 San Francisco. Awards are bestowed upon visual artists in all media and at any stage of their career who live and work in the five-county Bay area.
June HargroveAnder Mikalson, an artist based in Sunnyside, New York, has received a 2012 grant from the Art Matters Foundation to support ongoing work.
Vesna Pavlović, assistant professor of art at Vanderbilt University in Nashville, Tennessee, has accepted a 2012 grant from the Art Matters Foundation to support ongoing work.
Lisi Raskin, an artist based in Brooklyn, New York, has been named a recipient of Creative Time’s 2012–13 Global Residency Program, which offers opportunities for artists to address important social issues through immersion in communities around the world. Raskin will travel to Vietnam and Afghanistan.
Gregory Sale, an artist based in Phoenix, Arizona, has accepted a 2013 Project Grant from Creative Capital in the Emerging Fields category.
Will Wilson has received a 2012 grant from the Art Matters Foundation to support Towards a Critical Indigenous Photographic Exchange, a project inviting indigenous artists, arts professionals, and tribal governance to engage in the performative ritual that is the studio portrait.
Exhibitions Curated by CAA Members
posted by CAA — April 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.
April 2013
Henri de Toulouse-Lautrec, The Seated Clowness (Miss Cha-U-Kao), from Elles, 1896, lithograph printed in green-black, black-brown, yellow, red, and blue on cream wove paper, 20 11/16 x 15 13/16 in. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, 1962.108 (artwork in the public domain)Colin B. Bailey, Susan Grace Galassi, and Jay A. Clarke. The Impressionist Line from Degas to Toulouse-Lautrec: Drawings and Prints from the Clark. Frick Collection, New York, March 12–June 16, 2013.
Rachel Epp Buller. Occupy Art: Protest and Empathy for the Worker. Wichita Art Museum, Wichita, Kansas, December 8, 2012–March 17, 2013.
Invitation card for Are We Where Yet?Leila Daw and Elisabeth Munro Smith. Are We Where Yet? A.I.R. Gallery, Brooklyn, New York, February 7–March 3, 2013.
Leena-Maija Rossi and Kari Soinio. Bodies, Borders, Crossings. Preus Museum, Kulturparken Karljohansvern, Horten, Norway, January 26–June 26, 2013.
Gail Stavitsky and Laurette E. McCarthy. The New Spirit: American Art in the Armory Show, 1913. Montclair Art Museum, Montclair, New Jersey, February 17–June 16, 2013.
Books Published by CAA Members
posted by CAA — April 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.
April 2013
Thea Burns. The Luminous Trace: Drawing and Writing in Metalpoint (London: Archetype Publications, 2012).
Michael Ann Holly. The Melancholy Art (Princeton, NJ: Princeton University Press, 2013).
Sharon Louden, ed. Living and Sustaining a Creative Life: Essays by 40 Working Artists (Bristol, UK: Intellect Books, 2013).
Joanne Pillsbury, ed. Past Presented: Archaeological Illustration and the Ancient Americas (Washington, DC: Dumbarton Oaks Research Library and Collection, 2012).
Anna K. Tuck-Scala. Andrea Vaccaro (Naples, 1604–1670): His Documented Life and Art (Naples, Italy: Paparo Edizioni, 2012).
Committee on Women in the Arts Picks for April 2013
posted by CAA — April 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.
April 2013
Hilma af Klint, Altarpiece, No. 1, Group X, Altarpiece Series, 1915 (artwork © Stiftelsen Hilma af Klints Verk; photograph by Albin Dahlström/Moderna Museet)
Hilma af Klint: A Pioneer of Abstraction
Moderna Museet
Skeppsholmen, Stockholm, Sweden
February 16–May 26, 2013
This major touring retrospective of Hilma af Klint’s work is a tribute to her unacknowledged contribution to abstract art. The exhibition traces its development and highlights the spiritual underpinnings of the symbolism and ornamentation that characterize her geometric idiom, in light of her interest in spiritism, theosophy, and anthroposophy. Also including Klint’s diaries and notebooks, A Pioneer of Abstraction proposes that she be considered a pioneer of abstract art, along with the genre’s main protagonists: Vasily Kandinsky, Piet Mondrian, and Kazimir Malevich. Klint, who believed that when painting she was expressing a higher consciousness, exhibited just her early representational paintings during her lifetime, stipulating in her will that her abstract works, which today amount to more than one thousand paintings and studies, could be shown only twenty years after her death. Not coincidentally, this exhibition comprises largely previously unseen works.
Dorothy Iannone: Innocent and Aware
Camden Arts Centre
Arkwright Road, London NW3 6DG England
March 8–May 5, 2013
Bringing together many works from the 1970s to the present, such as paintings, cut outs, illustrated books, and video installations, Dorothy Iannone: Innocent and Aware offers a great opportunity to study the radically combined celebration of sexual pleasure and quest for spirituality that underpin the work of this Berlin-based American artist, including the feminist politics of its pornographic aspects, its distinctive autobiographic mode, and its dialogue with both high and low culture, whether Western or non-Western.
Chantal Akerman: Maniac Shadows
The Kitchen
512 West 19th Street, New York, NY 10011
April 12–May 11, 2013
Curated by Tim Griffin and Lumi Tan, Maniac Shadows is a mesmerizing installation featuring recent work by the great feminist Belgian filmmaker Chantal Akerman. Images from multiscreen projections of recent video, shot during her residencies in various countries, interweave interior and outdoor views of the urban and natural environments, populated by figures or shadows, immersing the viewer in a shifting scenery of presence and absence. The exhibition also includes still photographs derived from the projections and a haunting video apparition of the artist in profil perdu reading My Mother Laughs, an autobiographic text about her aging mother. Evoking her film News from Home (1976), which interweaves shots of New York, where the artist had recently moved, with the reading of the letters of her mother from Brussels, Maniac Shadows unfolds as a city-specific installation, an autobiographic postscript that brings full circle the signature themes that have preoccupied Akerman throughout her career.
The artist Cristina Iglesias at the opening of her exhibition at the Reina Sofía in 2013 (photograph by Joaquín Cortés/Román Lores)
Cristina Iglesias: Metonymy
Museo Nacional Centro de Arte Reina Sofía
Calle de Santa Isabel, 52, 28012, Madrid, Spain
February 6–May 13, 2013
Curated by Lynne Cooke, this major retrospective of Cristina Iglesias’s work combines signature sculptural installations from the beginning of her career to the present, including videos and serigraphs, and sums up the major preoccupations of her polymaterial art practice while showcasing her multifarious expansion of sculpture, her exploration of its relation with space and architecture, and the centrality of the idea of the refuge.
Giosetta Fioroni: L’Argento
Drawing Center
35 Wooster Street, New York, NY 10013
April 5–June 2, 2013
Curated by Claire Gilman, this exhibition is a unique opportunity to marvel at the early work of Giosetta Fioroni, an important Italian painter whose signature combination of silver enamel paint and drawing on canvas makes her ideal subject for an institution devoted to drawing. The daughter of artists, Fioroni was born in Rome in 1932 and studied theater design with Toti Scialoja. She began as an abstract painter under his influence, as well as that of Cy Twombly, whom she befriended in Rome, but by the sixties had shifted toward an idiosyncratic figurative idiom firmly associated with Italian Pop’s history in Rome. Though the show brings together over eighty works in drawing, painting, film, theater design, and illustration, dating from the 1950s to the mid-1970s, it consists primarily of her signature figurative works of the 1960s, whose iconography (whether based on family or anonymous photos, iconic Italian paintings, news images from the Fascist Era, and above all glamour shots of women’s faces taken from women’s magazines) and chromatic reference to photography and cinema (by her use of silver as a “non-color”) manifest her distinct contribution to international Pop art. Along with two other current shows in New York that feature contemporaneous female artists—Idelle Weber: The Pop Years at Hollis Taggart Galleries and The Pop Object: The Still Life Tradition in Pop Art at Acquavella Gallery, which includes works by Vija Celmins, Marjorie Strider, Marisol, and Jann Haworth—the Drawing Center’s introduction of Fioroni to the United States belatedly acknowledges the female contributors to Pop, a pleasant aftereffect of the 2010 touring exhibition Seductive Subversion: Women Pop Artists.
Catalogue cover of Daring Methods: The Prints of Mary Cassatt
Daring Methods: The Prints of Mary Cassatt
New York Public Library
Stephen A. Schwarzman Building, Print and Stokes Galleries, Third Floor, Fifth Avenue at 42nd Street, New York, NY 10018
March 8–June 23, 2013
Drawn from the Miriam and Ira D. Wallach Division of Art, Prints, and Photographs Collection, this exhibition documents Mary Cassatt’s first tentative steps in printmaking—begun a year before her first participation in the Impressionist group exhibitions in 1878—and culminates with her highly accomplished, technically dazzling color prints. Spanning twenty years of her career, the arrangement unfolds chronologically, allowing the viewer to follow how the artist dealt with subjects, compositions, and an array of printing methods. It is also meant to convey the artist’s audacious experimentation with printmaking media and techniques.
Edith Tudor-Hart: In the Shadow of Tyranny
Scottish National Portrait Gallery
1 Queen Street, Edinburgh, EH2 1JD, Scotland
March 2–May 26, 2013
Drawn largely from the photographer’s archive of negatives, donated to the Scottish National Portrait Gallery in 2004, In the Shadow of Tyranny surveys the life and extraordinary political work of the Austrian photographer Edith Tudor-Hart. The exhibition is a long-overdue acknowledgment of the influential role of her socialist-realist aesthetics in transforming British photography of the interwar period. Born Edith Suschitzky in 1908, Tudor-Hart grew up in radical Jewish circles in Vienna after World War I. She studied photography at the Bauhaus in Dessau, Germany, and pursued a career as a photojournalist, though trained as a Montessori teacher. In May 1933 she was arrested for working as an agent for the Communist Party of Austria. She escaped imprisonment by marrying an English doctor and was exiled to London. Tudor-Hart continued to combine her practice as a photographer with low-level espionage for the Soviet Union and was pursued by the security services until her death in 1973. Dealing with social issues throughout her career—beginning with a focus on poverty, unemployment, and slum housing that captures the sociopolitical turmoil of the interwar period in Vienna and Britain and turning to child-welfare issues after World War II—Tudor-Hart used her camera as a political weapon in the service of working-class struggles and the workers’ movement in a manner that has left an indelible imprint on British photography. The exhibition presents over eighty photographs, many of which have never been shown, and includes film footage, Tudor-Hart’s scrapbook, and a selection of her published stories in books and magazines.
National Humanities Alliance Annual Meeting and Humanities Advocacy Day
posted by CAA — March 26, 2013
Anne Collins Goodyear, curator of prints and drawings at the National Portrait Gallery, Smithsonian Institution, is the president of the CAA Board of Directors, and Hannah O’Reilly Malyn is CAA development associate.
Anne Collins Goodyear and Hannah O’Reilly Malyn attended a day of meetings and panel discussions presented by the National Humanities Alliance (NHA). This year’s annual event, held on March 18, 2013, in Washington, DC, addressed the practical need for continued support of humanities education and research and the importance of quantifying the benefits of such, as well as highlighting the Clemente Course in the Humanities program, an endeavor that illustrates the impact of humanities learning on people from all walks of life. These discussions helped prepare participants for Humanities Advocacy Day, taking place on Capitol Hill the following day.
CAA is a member of NHA, which advocates federal funding of the humanities. In addition to its annual meeting, NHA organizes Humanities Advocacy Day, which brings critical information to participants and prepares them for congressional visits to support the National Endowment for the Humanities, the National Historical Publications and Records Commission, the Fulbright Program, the Institute for Museum and Library Services, and numerous Department of Education programs in the humanities.
The day began with a keynote address by Christina Paxson, president of Brown University, whose talk centered around the question “Are the Humanities Worth It?” and touched on demonstrating the tangible benefits derived from studying the humanities. She discussed the significance of understanding other cultures as we progress toward globalization and a world society, especially the ways in which humanists can help people respond to the social changes brought on by technological advances. Paxson stressed that we must train people not just with the immediately necessary skills for employment, which devalue over time, but also with the creativity to work in a rapidly changing world. She also revealed that, contrary to popular belief, the average lifetime incomes of people with bachelor’s degrees in the humanities are not much lower than those of people with bachelor’s degrees in STEM subjects, and noted that people with humanities degrees are more likely to pursue higher education above the bachelor’s.
The keynote address was followed by a panel on making the case for federal humanities funding, which consisted of six individuals: Stephen Kidd, executive director of NHA; Esther Mackintosh, president of the Federation of State Humanities Councils; Ben Kershaw, assistant director of congressional relations at the American Alliance of Museums; Lee White, executive director of the National Coalition for History; Miriam Kazanjian, consultant for the Coalition for International Education; and Mollie Benz Flounlacker, associate vice president for federal relations at the Association for American Universities. Continuing in the same line as Paxson’s talk, the panelists described the different government programs concerned with the humanities and what tactics are most effective in arguing for their continued funding—namely economic impact, the importance of creative thinking skills and well-rounded job candidates, and how the humanities relate to core American values such as citizenship and civic understanding and participation. The overarching message was that to remain competitive in the global economy, America must produce workers who are well rounded, creative, and able to interact effectively with stakeholders abroad. Panelists noted that bipartisan support for the humanities does exist in Congress so long as the emphasis is on the value created for communities and taxpayers.
Over lunch, Karl Eikenbarry, the former US ambassador to Afghanistan, spoke about how the humanities were brought home for him in his work abroad. His anecdotes affirmed the advantages of learning foreign languages and cultures and endorsed the effective use of soft and hard power in diplomatic situations. Cultural diplomacy through touring symphonies, he said, is a reminder of US good will that can mitigate displays of military strength.
In the afternoon, a panel was held on advocacy infrastructure. John Churchill, secretary of the Phi Beta Kappa Society, talked about a demand for new strategies in advocacy, particularly the year-round involvement of advocates at the state and local levels to truly involve elected officials in the humanities in their communities. Churchill introduced the new Phi Beta Kappa’s National Advocacy Initiative, which will pursue this goal through regional events and local member “emissaries” for the humanities. This was followed by presentations by Robert Townsend, deputy director of the American Historical Association, and Carolyn Fuqua, program associate for humanities at the American Academy of Arts and Sciences, on recent studies and data regarding the humanities. They discussed the Humanities Indicators project, which compiles data on the humanities as a whole, and noted interesting statistics such as the fact that humanities majors score better than business majors on management program entrance exams.
The day concluded with a presentation on the Clemente Course program. This program offers humanities classes to underserved demographics such as incarcerated adults, people in economically disadvantaged communities, and immigrants. Past participants testified to how these courses, which offer college credit upon completion, changed their lives and their worldviews. Star Perry, a program graduate, spoke about how the program increased her self-value, improved her job prospects, and inspired her children to attend college. Moise Koffi, another graduate, shared how he came to the US as a manual laborer and, because of the Clemente Courses, has completed his PhD and is now an engineer and a professor. Senators Richard Durbin and Elizabeth Warren also gave a few words about the program and the humanities as a whole.
The following day, Malyn represented CAA while visiting the offices of seven members of congress, traveling with a group of New York professionals that included advocates from the Modern Language Association, Cornell University, Columbia University, and Queensborough Community College, City University of New York. (As a federal employee, Goodyear is not eligible to participate in such visits.) Together, the group met with five congressional staffers to discuss the importance of continued humanities funding. Advocates also thanked longtime supporters for their ongoing efforts and encouraged newly elected officials to join the Congressional Humanities Caucus. Malyn also visited the offices of Rep. Louise Slaughter (D-NY) and Rep. Leonard Lance (R-NJ) to update them on CAA’s work on fair use (i.e., its task force and conference session) and to distribute copies of CAA’s letter regarding the use of orphan works.
Action Alert: Urge Congress to Support the Humanities
posted by CAA — March 26, 2013
The National Humanities Alliance (NHA) sent the following email on March 26, 2013.
Action Alert: Urge Congress to Support the Humanities
Dear Humanities Advocate,
With the sequester now in effect, the budget of the National Endowment for the Humanities is slated to be cut by approximately $60 million over the next ten years. Title VI potentially stands to lose an additional $36 million from its already decimated budget over the same span. Other federal funding for the humanities will be cut by similarly significant amounts. Now is the time to urge your elected officials to replace the sequester with a balanced approach to deficit reduction that will preserve crucial investments in humanities programs.
Act now to preserve humanities funding. Tell your Member of Congress to replace the sequester with a long-term, balanced approach to deficit reduction.
Click here to write to your representative and senators today!
Sincerely,
Stephen Kidd, Ph.D.
Executive Director
National Humanities Alliance
Foundation Supports Ongoing Care of Collections after Devastation of Superstorm Sandy
posted by CAA — March 21, 2013
The Foundation of the American Institute for Conservation of Historic and Artistic Works (FAIC) sent the following email on March 21, 2013. FAIC supports conservation education, research, and outreach activities that increase understanding of our global cultural heritage.
Foundation Supports Ongoing Care of Collections after Devastation of Superstorm Sandy
The Foundation of the American Institute for Conservation of Historic and Artistic Works (FAIC) has completed work at the Cultural Recovery Center (CRC) in Brooklyn, NY after serving a community of artists and organizations in dire need of assistance. The CRC offered space and help at no cost to owners of artworks damaged as a result of Superstorm Sandy. Volunteer assistance and work space was provided to museums, libraries, archives, historic sites, galleries, collectors, and artists. While full conservation treatment was not covered, guidance and assistance in the cleaning and stabilization of art and cultural materials was.
23 members of the AIC Collections Emergency Response Team (AIC-CERT) contributed 128 days of professional volunteer services in New York and New Jersey. At least 34 additional conservators from the region also volunteered. At the CRC, volunteers worked with nineteen artists on hundreds of items, including paintings, works on paper, photographs, textiles, and multi-media works. Many of the works were at risk because of toxic deposits and potential mold growth.
The Center for Cultural Recovery was operated by The Foundation of the American Institute for Conservation of Historic and Artistic Works (FAIC), in cooperation with a consortium of organizations:
- Alliance for Response New York City
- Heritage Preservation
- New York City Department of Cultural Affairs
- New York Regional Association for Conservation
- Industry City at Bush Terminal
- Smithsonian Institution
Initial funding for the response and recovery efforts, including initial costs for the Center, was provided by a leadership gift to FAIC from Sotheby’s. A grant from the Andrew W. Mellon Foundation allowed the Center to remain open through March 8. Industry City at Bush Terminal provided the space rent-free. Rapid Refile set up containment tents and air scrubbers to prevent the spread of mold from incoming objects to cleaned objects. Collector Systems provided free use of its web-based collection management system. The Smithsonian Institution and a grant to Heritage Preservation from the New York Community Trust, as well as support from TALAS, enabled purchase of supplies. The Center was also outfitted with supplies from Materials for the Arts, a creative reuse program managed by the New York City Department of Cultural Affairs. Additional donations to FAIC came from PINTA, The Modern & Contemporary Latin American Art Show; Tru Vue; Aon Huntington Block Insurance; Aon Foundation; members of AIC; and others. The American Museum of Natural History and MoMA also provided key in-kind support for recovery efforts and establishment of the CRC.
As the need for conservation continues, those with damaged pieces are encouraged to use AIC’s Find A Conservator tool available for free on the AIC website: www.conservation-us.org/findaconservator. The tool provides a systematic, consistent method of obtaining current information to identify and locate professional conservation services from all across the United States and abroad. It allows users to address a wide range of conservation problems, whether the needs are long-range or short-term and whether the collection consists of thousands of valuable historic artifacts, one priceless work of art, or items of great personal value.
Udo Kultermann: In Memoriam
posted by CAA — March 19, 2013
The following obituary was prepared by the family of the deceased and edited by CAA.
Udo Kultermann
Udo Kultermann, an internationally recognized scholar and Ruth and Norman Moore Professor Emeritus of Architecture in the Sam Fox School of Design and Visual Arts at Washington University in Saint Louis, died on February 9, 2013, in New York. He was 85 years old.
Born in Germany in 1927, Kultermann received his PhD from the University of Münster and served as the director of the City Art Museum in Leverkusen. He came to the United States in 1967, where he taught at Washington University for over thirty years. Kultermann wrote more than thirty-five books on a wide range of subjects—many of which have been translated into various languages—and published numerous articles in scholarly journals worldwide. His book The History of Art History (1993) is among his most original and cited works.
Kultermann’s specialty was twentieth-century architecture, with a groundbreaking focus on Africa and the Middle East. His interests also included European art and architecture as well as contemporary American art. Recognizing the importance of female performance artists, Kultermann was one of the first art historians to write about them. After retiring from Washington University, he and his wife, Judith Kultermann, moved to New York, where she still resides.
Read more about Kultermann in the Washington University Newsroom.
Carl N. Schmalz Jr.: In Memoriam
posted by CAA — March 19, 2013
The following obituary was submitted by the brother of the deceased, Robert F. Schmalz, and edited by CAA.
Carl N. Schmalz Jr.
Carl N. Schmalz Jr., an artist and art historian who taught for many decades at Bowdoin College and Amherst College and a CAA member since 1951, died February 22, 2013. He was 86 years old.
Born in 1926 in Ann Arbor, Michigan, Schmalz was the son of the late Carl N. Schmalz and Esther (Fowler) Schmalz of Belmont, Massachusetts. he earned AB, AM, and PhD degrees in fine arts from Harvard University and was later awarded an honorary degree by Amherst College. He studied watercolor painting with Eliot O’Hara in 1943–44 and began a long teaching career while instructing at the O’Hara School at Goose Rocks Beach in 1946–47. As assistant professor at Bowdoin College from 1952 to 1962, he taught both the history and practice of art, while serving simultaneously as curator and ultimately as associate director of the Walker Art Museum (now the Bowdoin College Museum of Art). He moved to Amherst in 1962 and was made full professor seven years later.
In 1969 Schmalz inaugurated the popular summer Watercolor Workshops in Kennebunkport, Maine, which he ran for twenty years. He retired from Amherst at the end of 1994 but enjoyed teaching watercolor painting at Rock Gardens Inn in Sebasco Estates, Maine, since the early 1990s. He also taught at the Heartwood College of Art in Kennebunk until his recent hospitalization.
Schmalz was the author of several books on watercolor painting and of articles in professional journals. He taught classes, juried many exhibitions, and lectured on the subject of watercolor throughout the United States, as well as in Canada and Bermuda. His work won him election as a charter member of the Watercolor USA Honor Society and national and regional prizes. His artwork was handled by galleries in Maine, Florida, Bermuda, and Boston, and his paintings hang in numerous public collections and in hundreds of private homes. He painted landscapes in Britain and Europe—and loved Italy especially. Apart from the Indian subcontinent, he painted on every continent on the globe. In recent years his particular focus was still life.
Schmalz held a wide range of public-service positions in the communities in which he lived: vice president of the board of directors of the Portland Museum of Art; member of the executive board of Interfaith Housing Corporation in Amherst; president of the board of trustees of Amherst Day School; art consultant for the O’Hara Picture Trust; chairman of the board of assessors in Pelham, Massachusetts; member of the Pelham Arts Lottery Council; and consultant on undergraduate science education for the National Academy of Sciences.
Schmalz leaves his wife Dolores T. Schmalz; his son Mathew N. Schmalz and his wife Kristin; and his daughter Julia I. Schmalz and her partner Janice. He is also survived by two grandchildren, Anna Teresa and Katherine Dolores Schmalz; and two brothers, Robert F. Schmalz of State College, Pennsylvania, and David H. Schmalz of Amsterdam, Holland. His first son, Stephen Theodore Schmalz, predeceased him.