CAA News Today
Committee on Women in the Arts Picks for December 2012-January 2013
posted by CAA — December 10, 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.
December 2012–January 2013
Mickalene Thomas: How to Organize a Room around a Striking Piece of Art
Lehman Maupin Gallery
540 West 26th Street, New York, NY 10001; and 201 Chrystie Street, New York, NY 10002
November 14, 2012–January 5, 2013
The two-part Mickalene Thomas: How to Organize a Room around a Striking Piece of Art is a the artist’s third solo exhibition at Lehmann Maupin Gallery. The Lower East Side space will present new large-scale paintings depicting landscapes and interior scenes and a series of short films created during her recent travels in Europe. In Chelsea, Thomas’s first documentary film, Happy Birthday to a Beautiful Woman, will be shown alongside photographs of her mother and long-time muse, Sandra Bush. The film is an emotionally raw and loving portrait of Bush as she reflects on her life experiences, including her personal struggles and battle with chronic illness. Thomas will also re-create one of her tableau environments in the gallery, allowing viewers to fully immerse themselves in the artist’s world while watching the film.
Deborah Kass, Before and Happily Ever After, 1991, oil and acrylic on canvas, 72 x 60 in. (artwork © Deborah Kass)
Deborah Kass: Before and Happily Ever After
Andy Warhol Museum
117 Sandusky Street, Pittsburgh, PA 15212
October 27, 2012–January 6, 2012
Before and Happily Ever After is the first midcareer retrospective of Deborah Kass at the temple of the artist who unleashed her potent turn to pop culture in order to explore first her “absence” and then her “presence” in it as a lesbian Jewish woman, as she has recently said. Consisting of seventy-five works, the exhibition unites the abstraction of her early and most recent work, unravels the development of Kass’s audiovisual mining of art history and pop culture through breakthrough painting series (such as The Warhol Project, The Jewish Jackie, and her latest, feel good paintings for feel bad times), and offers an incredible opportunity to be marveled by the variety of politics—and pleasures—that underpin her affective yet multilayered dialogue with pop culture and the exploration of (her) identity through it. As Kass sheds her own light on Andy Warhol through her work, and as her work continues to defend the potent ways in which women artists have engaged pop culture, the show promises to pave the way for other dialogues between women (neo-Pop or Pop) artists with (American) Pop or Warhol at his museum.
Ann Hamilton: the event of a thread
Park Avenue Armory
643 Park Avenue, New York, NY 10065
December 5, 2012–January 6, 2013
Ann Hamilton’s enchanting installation, the event of a thread, conducts a powerful, affective weaving of sounds, words, textures, and motions that shrouds the visitors with the intimacy of touch—the hand of cloth as the artist puts it—while translating the bodily intimacy of the “lap” and the daydream-like state of mind of “being read” into architectural scale and public experience. A multisensorial site-specific piece that is titled after a line from a definition of weaving by Anni Albers, the event of a thread is reminiscent of the artist’s childhood memories of daydreaming while being read in her grandma’s lap. Comprised of a field of swings, the installation is divided by an enormous silk glacial curtain whose motion is determined by the move of the swings and bracketed by a textile metaphorically being woven by the sonic threads of reading, writing, and live and recorded song. At the front of the installation two actors, covered with textured capes, read to caged birds, improvising combinations of Aristotelian excerpts that further elaborate on the role of touch in our self-awareness, weaving a tapestry of whispers that reach the visitors through separate speakers packaged in paper bags throughout the installation space. At the other end, rotating authors respond to the world outside and behind, weaving words into letters addressed to Far, to Near, to Time, to Sadness, and so on. In effect, the event of a thread reinstills belief in the viability and power of “relational” art as art literalizing its political claim to restoring the social bond by creating proximities through a strikingly intimate and poetic manner.
Caroline Burton: Prey
Accola Griefen Gallery
547 West 27th Street, No. 634, New York, NY 10001
December 7, 2012–January 12, 2013
In her first solo exhibition at Accola Griefen Gallery, Caroline Burton is exhibiting sculpture, painting, and drawing inspired by objects left behind or discarded. Her sculptural pillows in neutral tones allude to rest but render that impossible by the Hydrocal, wire, and canvas forms. Two rabbit’s feet cast in bronze hang on one wall and refer to the exhibition title. The exhibition also includes oil paintings on canvas, which depict discarded papers and rags.
Doing What You Want: Marie-Louise Ekman Accompanied by Sister Corita Kent, Mladen Stilinovic, and Martha Wilson
Tensta Konsthall
Taxingegränd 10, Box 4001, 163 04 Spånga, Stockholm, Sweden
October 18, 2012–January 13, 2013
Maria Lind, director of Tensta Konsthall, has interestingly used the work of a variety of artists, including Corita Kent and Martha Wilson, to flesh out the rebellious politics and feminist strategies of the work of Marie Louise Ekman, a fascinating and at times controversial figure of the Swedish art scene since the 1960s. Though a prominent artist who has worked in various media, celebrated in her home country mostly for her films, Ekman has not yet received the attention she deserves for her multifarious work that bridges Pop art and feminism from an idiosyncratic and often absurdist “girlie” point of view, radically exploring feminine identity and attacking bourgeois conventions. The exhibition focuses on her work from the 1960s to the 1980s, bringing together her transgressive objects that range from environments of Disney dolls and doll-occupied canvases, sewn silk, and pink fur objects to paintings on silk that straddle a variety of themes with her characteristic childish cartoony style.
Brooke Moyse, Mount, 2011, oil on canvas, 72 x 80 in. (artwork © Brooke Moyse; photograph by Jason Mandella)
To Be a Lady: Forty-Five Women in the Arts
1285 Avenue of the Americas Art Gallery
1285 Avenue of the Americas, New York, NY 10019
September 24, 2012–January 18, 2013
Curated by Jason Andrew and organized by Norte Maar, this cross-disciplinary, cross-generational exhibition includes work by forty-five artists born over the last century “who happen to be women.” Those included are: Alma Thomas, Charmion von Wiegand, Louise Nevelson, Alice Neel, Barbara Morgan, Irene Rice Pereira, Janice Biala, May Wilson, Lenore Tawney, Louise Bourgeois, Edith Schloss, Grace Hartigan, Ruth Asawa, Betye Saar, Pat Passlof, Jay DeFeo, Susan Weil, Lee Bontecou, Viola Frey, Judy Dolnick, Kathleen Fraser, Hermine Ford, Mimi Gross, Nancy Grossman, Elizabeth Murray, Judy Pfaff, Genesis Breyer P-Orridge, Mira Schor, Mary Judge, Nancy Bowen, Lindsay Walt, Michelle Jaffé, Elisabeth Condon, Tamara Gonzales, Jessica Stockholder, Brece Honeycutt, Ellie Murphy, Julia K. Gleich, Austin Thomas, Ellen Letcher, Rachel Beach, Vanessa German, Kirsten Jensen, Brooke Moyse, and Nathlie Provosty.
Rosemarie Trockel: A Cosmos
New Museum of Contemporary Art
235 Bowery, New York, NY 10002
October 24, 2012–January 20, 2013
Curated by Lynne Cooke, A Cosmos is a truly remarkable exhibition, both as a survey of Rosemarie Trockel’s work and as a combination of different curatorial and museum-display models that pertinently structure, interweave, and contextualize the artist’s signature themes and media, illuminating her multifarious work in a productive and enchanting way.
Kate Davis: Not Just the Perfect Moments
Drawing Room
Tannery Arts, 12 Rich Estate, Crimscott Street, London SE1 5TE, United Kingdom
December 4, 2012–February 2, 2013
Kate Davis, a New Zealand–born artist based in Glasgow, has produced a new body of commissioned work for her solo exhibition at Drawing Room. Questioning how to bear witness to the complexities of the past, her artwork is an attempt to reconsider, reclaim, and reinvent what certain histories could look, sound, and feel like. This has often involved responding to the aesthetic and political ambiguities of historical artworks and their reception. Working across a range of media, Davis has kept drawing at the critical core of her visual vocabulary, and this exhibition is the first time she addresses her relationship to the medium, its activity, and its history so directly. Focusing on ideologies perpetuated through certain approaches to the teaching of drawing, Not Just the Perfect Moments will attempt to stand alongside the late artist, Jo Spence, to reexamine and unpick some of the ways in which a representational practice, such as drawing, has constructed perceptions of the individual. Spence’s groundbreaking photographic works often asked who owns images—especially images of the body. In this exhibition, as with much of Davis’s practice, photography and drawing are brought into close relation and questioned as techniques for challenging, and caring for, a past and future.
The Female Gaze: Women Artists Making Their World
Pennsylvania Academy of the Fine Arts Museum
118–128 North Broad Street, Philadelphia, PA 19102
November 17, 2012–April 7, 2013
With great treasures and many surprises, The Female Gaze: Women Artists Making Their World consists of works from the museum’s recently acquired Linda Lee Adler Collection of Art by Women, which boasts close to five hundred works of art (including paintings, photographs, drawings, watercolors, pastels, collage, prints, fabric pieces, ceramics, bronze, wood, and sculpture in other media) by over 150 artists. The gift includes works by artists not previously represented in the museum, such as Louise Bourgeois, Joan Brown, Viola Frey, Ana Mendieta, Christina Ramberg, Kiki Smith, and Beatrice Wood, as well as complementary works by artists already in the collection, including Gertrude Abercrombie, Edna Andrade, Diane Burko, Sue Coe, Janet Fish, Sarah McEneaney, Alice Neel, Louise Nevelson, Gladys Nilsson, Elizabeth Osborne, Betye Saar, and Nancy Spero. A fully illustrated catalogue, with contributions from Glenn Adamson, Anna C. Chave, Robert Cozzolino, Joanna Gardner-Huggett, Melanie Herzog, Janine Mileaf, Mey-Yen Moriuchi, Jodi Throckmorton, and Michele Wallace, is something to covet.
Support CAA’s Journals through the Publications Fund
posted by CAA — December 05, 2012
As 2012 comes to a close and CAA looks toward the year to come, it is time for us to consider the future of our publications. CAA’s long-standing, highly regarded print journals, The Art Bulletin and Art Journal, deliver much of the world’s leading scholarship in art history and visual studies. CAA member support of the Publications Fund helps maintain each publication’s preeminent position. I encourage you to join our growing list of donors this year.
The Art Bulletin, which covers the full range of art history in essays by some of the world’s most acclaimed art scholars, marks its centennial in 2013, celebrating one hundred years of exemplary scholarship and leadership in the field. Art Journal, in print since 1929, is an ever-evolving forum for topics in modern and contemporary art. Next spring will see the first issue of its new editor-in-chief, Lane Relyea. The youngest CAA publication, the born-digital caa.reviews, annually presents hundreds of reviews of books, exhibitions, publications, projects, conferences, and symposia as the sole art journal devoted exclusively to reviews. Founded in 1998, it celebrates its fifteenth anniversary this year with an Annual Conference panel discussion about its origin, evolution, and future. Together, these three journals promote new scholarship and practices in the visual arts to an international audience.
At a time when academic publishing offers fewer venues for discussion and debate, the visibility and vitality of The Art Bulletin, Art Journal, and caa.reviews continue to broaden. The journals reach tens of thousands of readers annually and remain essential resources—none of which would be possible without the support of donors.
Contributors who give at a level of $250 or higher are prominently acknowledged in the publication they support for four consecutive issues, as well as on the publication’s website for one year. On behalf of the artists, scholars, writers, and reviewers who publish in the journals, I hope CAA can count on your support this year.
Thank you for your consideration of this request. Your ongoing commitment is essential to our success—and very much appreciated.
With best regards,
Anne Collins Goodyear
CAA Board President
RECIPIENTS OF 2013 CAA INTERNATIONAL TRAVEL GRANTS
posted by CAA — November 20, 2012
CAA is pleased to announce this year’s recipients of its International Travel Grant Program, generously funded by the Getty Foundation. Twenty art historians, including professors, curators, and artists who teach art history, will attend the upcoming Annual Conference in New York, taking place February 13–16, 2013. This is the second consecutive year that CAA has received a Getty grant to support the program.
In addition to covering travel expenses, hotel accommodations, and per diems, the CAA International Travel Grant Program includes conference registration and a one-year CAA membership. At the conference, the twenty recipients will be paired with hosts, who will introduce them to CAA and to specific colleagues who share their interests. CAA is grateful to the National Committee for the History of Art (NCHA) for its generous support in underwriting the hosts’ expenses. Members of CAA’s International Committee have agreed to serve as hosts, along with representatives from NCHA and CAA’s Board of Directors. This year, the program will begin with a one-day preconference for grant recipients and their hosts in New York on February 12.
The CAA International Travel Grant Program is intended to familiarize international professionals with the Annual Conference program, including the session participation process. CAA accepted applications from art historians, artists who teach art history, and art historians who are museum curators; those from developing countries or from nations not well represented in CAA’s membership were especially encouraged to apply. In September 2012, a jury of CAA members selected the final twenty recipients, whose names, home institutions, and primary areas of scholarly and professional pursuits follow. CAA is delighted by the range of interests and accomplishments of this year’s grant recipients and looks forward to welcoming them in New York.
CAA hopes that this travel-grant program will not only increase international participation in the organization’s activities, but will also expand international networking and the exchange of ideas both during and after the conference. The Getty-funded International Travel Grant Program supplements CAA’s regular program of Annual Conference Travel Grants for graduate students and international artists and scholars.
Joseph Adandé
Joseph Adandé
Joseph Adandé received a PhD in art history from the Université de Paris I, Sorbonne, where he focused on a comparative study of Ashanti stools and the Dahomey royal stools. Since 1986, he has taught art history at the Université d’Abomey-Calavi and at the Institut Supérieur d’Information, de Communication et des Arts (ISICA), at the University of Lomé, Togo. He defended a doctorat d’État in 2012 on “Humor in Traditional and Contemporary African Arts” at the Université de Lomé.
Adandé has taught and lectured in universities in Italy and Germany and served as a resource person for the School of African Heritage in Porto-Novo. He received a fellowship to the Metropolitan Museum of Art in New York to write a book on appliqué cloth in West Africa. Currently active in launching a school of fine arts at his university, Adandé recently obtained a three-month invitation to the Institut National d’Histoire de l’Art (INHA) in Paris, France, from September to November 2012.
Priscila Arantes
Priscila Arantes
Priscila Arantes is a cultural critic, curator, professor and director. She has been director and curator of Paço das Artes (State Secretariat of Culture/SP/Brazil) since 2007 and professor at Pontifícia Universidade Católica de São Paulo (PUC/SP) (Pontifical Catholic University) since 2002. She received her PhD in communication and semiotics from Pontifícia Universidade Católica de São Paulo and conducted postdoctoral research in the Department of Visual Art at the Pennsylvania State University. Between 2007 and 2011 Arantes was associate director of the Museum of Image and Sound in São Paulo, and in 2010 she was a member of the São Paulo Art Biennial’s editorial council of the magazine Polo de Arte Contemporânea. She has published widely about digital aesthetics and also curated exhibitions at Paço das Artes, notably Assim é, se lhe parece, translated as Right You Are! (If You Think So), in 2011 and Projeto 5X5 in 2012. Her research interests include contemporary art, Brazilian and Latin American art, and postcolonial studies.
W. M. P. Sudarshana Bandara
W. M. P. Sudarshana Bandara
W. M. P. Sudarshana Bandara is a lecturer in the Department of Fine Arts, University of Peradeniya, Sri Lanka. Trained as a painter, he received an MPhil in art history in 2009. He is currently pursuing a PhD, exploring how Eastern and Western concepts of art are used in the analysis of modern and postmodern works of art. Bandara is particularly interested in the intersection of art, Marxism, semiotics, and the Indian concept of Rasa.
Bandara teaches undergraduate and graduate courses in fine arts, art history, aesthetics, and criticism. In addition to teaching, he assists and supervises the research work of BA and MPhil students. The author of three academic research books and over twenty research papers, Bandara is also an active painter, exhibiting in solo and group exhibitions in Sri Lanka and internationally.
Marly Joseph Desir
Marly Joseph Desir
Marly Joseph Desir received his PhD in art history from the University of Arts, Haiti. He is a professor at the College La Renaissance, Port-au-Prince, Haiti, specializing in European and American art. As a teacher he uses lectures and multimedia technology to present a rich tapestry of visual information to his students, guiding them through the history of art, connecting historical traditions and practices to techniques through the ages, and linking them to a practical application of these techniques. His most recent publication is “True Art and Pseudo Art: Symbolist Discourse on Autonomy and Value” (2012). Earlier work includes: “Art Ethics: Thomas Kinkade and Contemporary Art” (2011); “National Art from a Local Perspective” (2008); and “Foreign or Native, Perception and Reception of Impressionism in American Art Criticism” (2006). Desir’s research focuses on twentieth-century American history and Byzantine manuscipts from the ninth through fourteenth centuries.
Ding Ning
Ding Ning
Ding Ning graduated with a PhD degree from Beijing Normal University in 1988. He was the British Council’s postdoctoral fellow at the University of Essex from 1993 to 1994. Before moving to Beijing in 2000, he served as professor and chair of the Department of Art History and Theory, China National Academy of Fine Arts in Hangzhou. He is currently a professor and vice dean at the School of Arts, Peking University.
Ding’s publications include Dimensions of Reception; Psychology of Visual Art; Dimensions of Duration: Toward a Philosophy of Art History; Depth of Art; Fifteen Lectures on Western Art History; and Spectrum of Images: Toward a Cultural Dimension of Visual Arts. He has also translated extensively, including Norman Bryson’s Tradition and Desire: From David to Delacroix and Looking at the Overlooked: Four Essays on Still Life Painting; Douglas Kellner’s Media Culture: Cultural Studies, Identity, and Politics between the Modern and the Postmodern; and David Carrier’s Museum Skepticism: A History of the Display of Art in Public Galleries.
Davor Džalto
Davor Džalto
Davor Džalto is a professor of history and theory of art at the Institute for the Study of Culture and Christianity, Belgrade, and the University of Niš. He graduated from the Faculty of Philosophy at the University of Belgrade in Serbia and received his PhD from the University of Freiburg in Germany. He also conducted postdoctoral research at the University of Münster, also in Germany.
A visiting professor at various European and American universities, Džalto has published four books and over thirty scholarly articles and essays in the field of art history and theory, cultural studies, philosophy, and Orthodox theology. He is also an artist, working in the media of painting, objects, installations, performances and video art. He has exhibited in numerous one-man and group exhibitions in Europe, Asia, and North America.
Richard Gregor
Richard Gregor
Richard Gregor is an art historian, curator, and visual art critic who studied at Trnava University and Charles University in Prague. Currently the director of Bratislava Old Town Visual Art Centre, he was previously the chief curator of Nitra Gallery and Bratislava City Gallery. He has also served as a professor of art history and theory at the Academy of Art in Banská Bystrica and as a consultant on gallery issues at the Ministry of Culture of Slovak Republic.
Between 2007 and 2008 and again in 2011, Gregor was the head of the Cultural Department at Bratislava–Old Town City Council. Through his initiative, the Cyprián Majerník Gallery, originally established in 1957, reopened in 2008 as part of the Visual Art Centre. Gregor has curated more than thirty exhibitions in Slovakia and abroad, and has written numerous critical articles and studies in catalogues and books, including Slovak Painting since 1918, published on the official governmental website.
AKM Khademul Haque
AKM Khademul Haque
AKM Khademul Haque is an associate professor of Islamic art and architecture in the Department of Islamic History and Culture, University of Dhaka, Bangladesh. After completing his undergraduate and MA degrees from the same department, he joined his alma mater as a lecturer in 1999 and became an assistant professor in 2004. Haque is currently pursuing his PhD from the same institution, researching weaponry and war techniques in medieval Bengal. His interests include the development of Islamic art and architecture internationally.
In 2007, Haque received the Hamad bin Khalifa Fellowship to attend the Second Biennial Conference on Islamic Art, organized by the School of Arts, Virginia Commonwealth University in Doha, Qatar. In 2010, he received the Indranee Roy Memorial Award for presenting the best paper in the Twenty-Sixth Annual Conference of Paschimvanga Itihasa Samsad (West Bengal History Association), held at the University of Calcutta, Kolkata, India.
Musarrat Hasan
Musarrat Hasan
Musarrat Hasan received an MFA from the Punjab University Lahore, Pakistan, in 1961 and a PhD in art history in 1997. She is a professor, painter, and writer, currently also serving as a member of Provincial Assembly, the highest legislative body of Punjab. In 1972, Hasan established a department of fine arts at the Queen Mary College Lahore. To overcome the language barriers of her students, she translated into Urdu an English-language survey of prehistoric and ancient art, a book based on the college’s curriculum in fine arts.
In 1997 Hasan received her doctorate, publishing her dissertation the following year. All of her five publications since then have been an effort to compile and preserve data about contemporary art in Pakistan. She designed a course of South Asian art for PhD studies in two universities in Lahore and is currently teaching that course at the Punjab University Lahore.
Hlynur Helgason
Hlynur Helgason
Hlynur Helgason is a practicing artist and philosopher residing in Reykjavík, Iceland. He received a doctorate in media philosophy from the European Graduate School in Switzerland and currently holds the post of assistant professor in art theory at the University of Iceland, Reykjavík.
Helgason’s main topic of research is the temporality of contemporary art, drawing inspiration from the philosophy of Gilles Deleuze, Jean-François Lyotard and Michel de Certeau, among others. His current topics of study include the art of Vito Acconci, Andy Warhol, and Christian Marker, as well as the Icelandic contemporary artists Libia Castro and Ólafur Ólafsson, Níels Hafstein, and Ósk Vilhjálmsdóttir.
Bogdan Teodor Iacob
Bogdan Teodor Iacob
Bogdan Teodor Iacob is the director of the Department for Theoretical Disciplines at the University of Art and Design in Cluj–Napoca, where he teaches art history and contemporary art. Between 2008 and 2011, he served as chancellor of the university. Iacob holds a BA in art history from Babes–Bolyai University in Cluj–Napoca, Romania, and an MA in socioanthropology from the same institution.
In 2011, Iacob obtained a PhD in visual arts with the thesis “From Pathos to Cynicism: The Image of History in Modern and Contemporary Art.” Primarily concerned with contemporary artistic practices, he has lectured and published widely, including the book Offline (2010). His current focus is Romanian art criticism during the Communist era.
Peju Layiwola
Peju Layiwola
Peju Layiwola is a visual artist and art historian working in a variety of media including installation, sculpture, printmaking, and jewellery. She began her studies in the arts at the University of Benin, Nigeria, and obtained a doctorate in art history from the University of Ibadan, Nigeria. Layiwola has had several group and solo exhibitions both locally and internationally. In addition to these shows, she has held lectures and workshops in the United States, South Africa, and Austria. Her most recent traveling exhibition and edited book, Benin1897.com: Art and the Restitution Question, present an artist’s impression of the cultural rape of Benin.
Layiwola has also published widely on various aspects of the visual culture of Nigeria. She runs an active studio in Ibadan, Nigeria, as well as a Women and Youth Art empowerment initiative for community development. She is currently an associate professor and teaches art and art history at the University of Lagos, Nigeria.
Parul Dave-Mukherji
Parul Dave-Mukherji
Parul Dave-Mukherji is currently the dean at the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi. She holds a PhD in Indology from Oxford University. She is the coconvener of the Forum on Contemporary Theory and coeditor of the Journal of Contemporary Thought.
Dave-Mukherji’s publications include Towards A New Art History: Studies in Indian Art (coedited, 2003) and a special issue on Visual Culture of the Journal of Contemporary Thought, 17 (guest editor, Summer 2003). She also published Rethinking Modernity (coedited, 2005) and “Putting the World in a Book: How Global Can Art History Be Today” in J. Anderson, ed., Crossing Cultures: Conflict, Migration, and Convergence (2009). Her current research focuses on comparative aesthetics, contemporary art in India and Asia, and the impact of globalization on art theory and the discipline of art history.
Venny Nakazibwe
Venny Nakazibwe
Venny Nakazibwe is a textile designer and art historian, currently a senior lecturer and dean of the Margaret Trowell School of Industrial and Fine Arts, Makerere University, Uganda. She holds an MA in textile design and a PhD in art history. She has conducted extensive research on the history of African textiles, focusing on indigenous fabric design and decorative techniques, as well as the contemporary use of these materials in art and design practice.
Nakazibwe is the winner of the 2007 Roy Sieber Award for her outstanding PhD dissertation on bark-cloth of the Baganda of southern Uganda. She has conducted lectures, workshops, and consulting work locally and internationally on the historical and contemporary use of bark-cloth in art and design practice and on design education for creative enterprises.
Sunyoung Park
Sunyoung Park
Sunyoung Park received an MA in art theory from Seoul National University, with a thesis about Gutai art, and received an MA in art history from University College London. She is a doctorate candidate in art criticism at Hongik University in Seoul, Korea. She is currently a lecturer in art history at several universities and plays an active role as an art critic. Her scholarly interests focus on the human body expressed in different contexts and figurative or abstract representation of embodied subjectivity in the field of vision.
Trinidad Pérez
Trinidad Pérez
Trinidad Pérez is an art historian who is currently professor and researcher at FLACSO-Ecuador (Facultad Latinoamericana de Ciencias Sociales), a graduate university system for which she has designed a master of fine arts program to open next year. She has previously taught and directed the art-history program at Universidad San Francisco de Quito and designed art-history master’s programs at other local universities to help develop the field in her country.
Pérez received a BA from the University of Maryland and an MA from the University of Texas at Austin, both in art history. She holds a PhD in cultural studies from Universidad Andina Simón Bolívar in Quito. Her research and publications focus on the emergence of modern art as an institution in Ecuador: the local and international conditions that made it possible, the roll of education, theory, and institutions, and the way this art deals with national identity.
Isabel Plante
Isabel Plante
Isabel Plante is a researcher of the Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET) at the Instituto de Altos Estudios Sociales of the Universidad Nacional de San Martín (IDAES-UNSAM) in Argentina. She also teaches at the Universidad Nacional General Sarmiento (UNGS) and the Universidad Nacional de La Matanza (UNLaM). She received her PhD in art history from the School of Philosophy and Letters, Universidad de Buenos Aires.
Plante’s doctoral thesis is about to be published as Argentinos de París. Arte y viajes culturales en los años sesenta (Argentines of Paris: Art and Cultural Travel during the Sixties). Both her dissertation and current postdoctoral research focus on international art exchanges, cultural identification, and geographical migrations of artists and works of art during the 1960s between Paris and South American cities such as Buenos Aires. It is in this context that she studies this period in terms of artistic legitimization and the institutional critique of Argentine and other South American artists in France.
Ohioma Ifounu Pogoson
Ohioma Ifounu Pogoson
Ohioma Ifounu Pogoson is a senior research fellow at the Institute of African Studies, University of Ibadan, Nigeria, the same university from which he received a PhD in visual arts in 1990. He has studied the social history of Benin arts in Germany and worked with American universities on African-studies-based curricula. In 2006 he won a MacArthur Foundation grant to make a comparative study of Anglophone and Francophone museums across West Africa and Great Britain. This year he is participating in the University of Cambridge/Africa Collaborative Research Program on Art and Museums in Africa.
Pogoson curates exhibitions and writes extensively about the visual arts of southern Nigeria, particularly Yoruba and Edo arts. His more recent publications include three edited books about Dotun Okubanjo, Moyo Ogundipe, and Lamidi Fakeye. He is the consulting curator of Africa’s largest private art collection, Omooba Yemisi Adedoyin Shyllon Art Foundation (OYASAF) in Lagos, Nigeria, and honorary curator of the Museum of the Institute of African Studies.
Marina Vicelja-Matijasic
Marina Vicelja-Matijasic
Marina Vicelja-Matijasic is a professor of art history in the Faculty of Humanities and Social Sciences and the director of the Center of Iconographic Studies at the University of Rijeka in Croatia. With an undergraduate degree in art history and English language and literature from the University of Zagreb, she completed her PhD in art history in 1999 at the same university with a dissertation entitled “Byzantium and the stone sculpture in Istria – origins and influences.” Vicelja-Matijasic’s research interests include late antique and early medieval art, Christian iconography, iconology, and urban studies.
Karen von Veh
Karen von Veh
Karen von Veh is associate professor in art history and theory in the Department of Visual Arts at the University of Johannesburg. She is also the current president of SAVAH (the South African Visual Arts Historians association) and a member of ACASA and CIHA. She studied at WITS University, obtaining BA honors and master’s degrees, and received a PhD from Rhodes University. The title of her PhD thesis is “Transgressive Christian Iconography in Post-apartheid South African Art.”
Von Veh has written several articles and book chapters and delivered national and international conference papers on this and related subjects with reference to works by Diane Victor, Wim Botha, Conrad Botes, Christine Dixie, Majak Bredell, Tracey Rose, and Lawrence Lemaoana, among others. Her research interests include contemporary South African art, religious iconography, gender studies, and postcolonial studies in identity and culture.
Committee on Women in the Arts Picks for November 2012
posted by CAA — November 10, 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.
November 2012
Susan Hamburger, detail of a cartouche in the installation of Creeping Ornamentalism, 2012, acrylic-painted collage on paper with foam-board molding, dimensions variable (artwork © Susan Hamburger; photograph provided by the Visual Art Center of New Jersey)
Susan Hamburger: Creeping Ornamentalism
Mitzi and Warren Eisenberg Gallery
Visual Art Center of New Jersey, 68 Elm Street, Summit, NJ 07901
September 14–December 2, 2012
In Creeping Ornamentalism, Susan Hamburger creates a Rococo period room complete with faux moldings and intricate hand-painted panels that focus on the destruction caused by Hurricane Irene in 2011. The three states she depicts in the panels—New Jersey, Vermont, and Massachusetts—are all places where the artist has lived in the past. Imagery of flora and fauna suggests growth and destruction, and Hamburger includes likenesses of each state’s endangered animals: the osprey, the vesper sparrow, and the blue-spotted salamander. Like previous period rooms by Hamburger, the installation at Eisenberg Gallery borrows designs from eighteenth- and nineteenth-century European decorative and fine arts to address current social, political, and economic issues.
Materializing “Six Years”: Lucy R. Lippard and the Emergence of Conceptual Art
Brooklyn Museum
200 Eastern Parkway, Brooklyn, NY 11238
September 14, 2012–February 3, 2013
Superb in its conception and realization, Materializing “Six Years” pays homage to the influential art critic and feminist pioneer, Lucy R. Lippard, by exploring the role that her 1973 book on conceptual art, Six Years, played in the critical construction of the emergent art movement back then and its historical perception today. Organized by Catherine Morris of the museum and Vincent Bonin, an independent curator, the exhibition—itself a prime example of feminist curatorial practice—brings together the work of approximately ninety international artists, including Vito Acconci, Eleanor Antin, and Richard Serra, to illuminate how Lippard’s curatorial projects, critical writing, and politics contributed to art making, writing, and display in the United States and beyond.
Mickalene Thomas, Origin of the Universe 2, 2012, rhinestone, acrylic paint, and oil enamel on wood panel, 44 x 48 in. Private collection, New York (artwork © Mickalene Thomas; photograph by Christopher Burke Studio and provided by the artist, Lehmann Maupin Gallery, New York, and Suzanne Vielmetter Los Angeles Projects)
Mickalene Thomas: Origin of the Universe
Brooklyn Museum
200 Eastern Parkway, Brooklyn, NY 11238
September 28, 2012–January 20, 2013
In her first solo museum exhibition, Origin of the Universe, now on view at the Brooklyn Museum, Mickalene Thomas places her jewel-encrusted paintings in four living-room installations into addition to hanging them traditionally. She also presents, for the first time, a new twenty-three minute biographical film, Happy Birthday to a Beautiful Woman, which chronicles the life of the artist’s mother, Sandra Bush, who also serves as a model and muse in other works. Highlights of the show include several versions of the painting Origin of the Universe, a reimagining of Gustave Courbet’s provocative L’Origine du monde (1866) both as an intimate self-portrait and as a portrait of the Thomas’s wife. References to the old masters mix freely with a painted collage aesthetic, bringing together art history, folk art, and mural painting.
Sandra Ramos: Viaje al “Sueno Americano”
Accola Griefen Gallery
547 West 27th Street, New York, NY 10001
October 18–November 24, 2012
The Cuban artist Sandra Ramos plays with the motifs of childhood, fantasy, and travel in three series that address life in her native Havana, the wider world of the United States, and the disconnect between fiction and reality in which both countries are complicit. In Collectibles, Ramos has created books and dioramas that depict the artist as a small doll-like figure among silhouettes of famous skyscrapers. In Travel to the American Dream, the artist adds collaged elements and graphite drawing to digital prints of American passports and immigration documents. In Habana Mirage, curved pieces of mirrored Plexiglas pairing depictions of the skylines of Manhattan and Havana hug the corners of the gallery, evoking a self-reflective convergence.
Penny Slinger, Bookworm (An Exorcism), 1977, unique photocollage, 13½ x 20 in. (artwork © Penny Slinger; photograph provided by the artist and Broadway 1602, New York)
Penny Slinger: An Exorcism Revisited, 1977–2012
Broadway 1602
1181 Broadway, Third Floor, New York, NY 10001
September 11–November 30, 2012
Penny Slinger is one of the few women artists to have gained recognition for her work despite the sexism of the British art world in the 1960s, due partly from the support of her mentor, the poet and Surrealist art historian Sir Roland Penrose. Slinger, still active as an artist today, is known for her employment of Surrealist tropes (collage, self-transgression, sexual symbolism) from a woman’s point of view. She has also enjoyed a varied career outside the art world, as a set designer and director for a radical feminist theater collective in London called Holocaust, and as the author of the popular collage novels 50% – The Visible Woman (1971) and Exorcism (1977). In addition to presenting her mixed-media work, the exhibition at Broadway 1602 will display archival material that illuminates other sides of her art practice, such as an unrealized film project.
Under Pressure
Joslyn Art Museum
2200 Dodge Street, Omaha, NE 68102
October 6, 2012–January 6, 2013
Under Pressure is a group exhibition that includes stellar modern and contemporary prints by Hung Lui, Kara Walker, Lorna Simpson, Helen Frankenthaler, Vija Celmins, Ellen Gallagher, Jennifer Bartlett, Barbara Krueger, and Kiki Smith. Organized by Toby Jurovics, chief curator of the Joslyn Art Museum, the show is culled from the collection of Jordan D. Schnitzer and his Family Foundation and will travel to Kansas, Utah, and Montana through 2014.
Kiki Kogelnik: I Have Seen the Future
Kunstverein Hamburg
Klosterwall 23, Hamburg, Germany 20095
September 15–December 30, 2012
I Have Seen the Future, an exhibition devoted to the Austrian artist Kiki Kogelnik, is the latest in a series of shows at the Kunstverein that seeks to reevaluate marginalized women artists associated with the male-dominated Pop art movement of the 1960s. Kogelnik, like her peer Evelyne Axell, the subject of a 2011 retrospective at the museum, made work about the female body in assemblage, painting, and sculpture. She is remembered within feminist art circles primarily for her super heroines—silhouettes with caricatured facial features often evoking the artist herself. Kogelnik’s work also addressed the political and cultural changes of the decade with topical paintings such as Heavy Clouds over the Cuba Crisis (1964) and Hit the Moon (1969), and through a series of colorfully painted bomb sculptures.
Affiliated Society News for November 2012
posted by CAA — November 09, 2012
American Council for Southern Asian Art
The American Council for Southern Asian Art (ACSAA) announces its sixteenth biennial meeting, to be held at the University of California, Los Angeles, from November 7 to 10, 2013. Following the format of previous ACSAA meetings, the council invites proposals for individual papers (with approximately 350-word abstracts) that reflect current directions of scholarship in South and Southeast Asian art. ACSAA is also introducing a second format for submissions, based on discrete panels that will follow the CAA method for organizing sessions. Accordingly, the council invites members to submit proposals for panels they wish to chair based on themed topics, research questions, or theoretical positions. If the panel is selected, the ACSAA membership will be invited to submit their proposals for papers directly to the panel chair, who will be responsible for the final selection of presenters. Proposals for panels are due on December 15, 2012; selected panels announced to the membership in mid-January 2013. All proposals for papers are due, either to a panel or as individual submissions (but NOT both), on March 31, 2013, with the final selections of both individual paper proposals and panel contributions announced at the end of April 2013. Please send all submissions and queries electronically to Alka Patel of the University of California, Irvine.
Art Libraries Society of North America
Art Documentation, the official bulletin of the Art Libraries Society of North America (ARLIS/NA) seeks peer reviewers for the journal. The bulletin’s editor, Judy Dyki, welcomes reviewers in all areas of interest and expertise; please note that there is a special need for individuals capable of reviewing articles about cataloging and metadata, digital collections, museum libraries, and new media and technology. Active since 1982, Art Documentation is now published in collaboration with the University of Chicago Press; the inaugural issue under the new partnership came out in spring 2012.
Please mark your calendars for the ARLIS/NA forty-first annual conference, taking place April 25–29, 2013, in Pasadena, California. The program committee is now accepting poster proposals and calling for moderators. The deadline for poster proposals is November 16, 2012; please visit the proposal guidelines for more information. Visit our website to review the panel sessions and workshops of the ARLIS/NA fortieth annual conference, which took place in spring 2012 in Toronto, Ontario.
Historians of Eighteenth-Century Art and Architecture
The Historians of Eighteenth-Century Art and Architecture (HECAA) have chosen a new president, Michael Yonan of the University of Missouri, and a new treasurer, Jennifer Germann of Ithaca College in Ithaca, New York. HECAA’s panel at next year’s American Society for Eighteenth Century Studies conference, taking place April 3–7, 2013, in Cleveland, Ohio, will be chaired by Heather McPherson of the University of Alabama in Birmingham and is entitled “Interiors as Space and Image.” This coming February at CAA’s Annual Conference in New York, HECAA’s panel, “Art in the Age of Philosophy,” will be chaired by Hector Reyes of the University of California, Los Angeles.
Historians of Islamic Art Association
Historians of Islamic Art Association (HIAA) would like to thank participants and attendees at its third biennial symposium, “Looking Widely, Looking Closely,” hosted by the Metropolitan Museum of Art in New York, October 18–20, 2012. HIAA also expresses deep appreciation to leadership donors and other contributors to the Oleg Grabar Memorial Fund in support of a new program of Grabar Grants and Fellowships. Finally, congratulations to the following members on their recent HIAA awards: Ayla Lester for the 2012–13 Grabar Post-Doctoral Fellowship; Hala Auji for the 2012–13 Grabar Travel Grant; and Ünver Rustem for a 2012 Graduate Student Travel Grant. To learn more and/or to apply in the future, please visit HIAA’s grants and fellowship webpage.
Historians of Netherlandish Art
Pieter Bruegel, Children’s Games, 1560, oil on panel, 118 x 161 cm. Kunsthistoriches Museum, Vienna, (artwork in the public domain)
The next formal deadline for submitting manuscripts to the Journal of Historians of Netherlandish Art, the peer-reviewed, open-access electronic journal published by the Historians of Netherlandish Art (HNA), is March 1, 2013. In addition to longer articles, the journal now welcomes shorter notes on archival discoveries, iconographical issues, technical studies, and rediscovered works. Please review the submission guidelines or contact the journal’s editor-in-chief, Alison Kettering, for more information.
International Sculpture Center
The International Sculpture Center (ISC), publisher of Sculpture magazine, will hold its next International Sculpture Symposium in Auckland, New Zealand, from February 11 to 15, 2013. Highlights of this exciting event include an opening party hosted by Auckland Art Gallery, with a traditional Powhiri welcome, keynote addresses by world-renowned sculptors, and art professionals in panel discussions. Optional activities and tours will include trips to Connell’s Bay Sculpture Park on Waiheke Island, a private tour of Alan Gibbs’s The Farm, an afternoon at Sculpture on the Gulf, Brick Bay Sculpture Trail and Vineyard, Zealandia, the Pah Homestead private home collections, and more! Please visit the conference website for more information and updates and to join the mailing list. You may contact ISC by email or call 609-689-1051, ext. 302, with any questions about this or other events.
Italian Art Society
The Italian Art Society (IAS) seeks proposals for papers for the annual IAS-Kress Lecture Series in Italy, to take place in Rome in late May or early June 2013. The deadline for submission is January 4, 2013. The distinguished senior scholar selected to present will speak on a topic related to the host city and will receive an honorarium and supplementary lecture allowance. This annual lecture series is intended to promote intellectual exchange among art historians of North America and the international community of scholars living or working in Italy. IAS also welcomes contributions to its winter newsletter. Please email your exhibition reviews, short articles, and announcements related to Italian art and architecture by January 15, 2013. The society urges those interested in the study of Italian art and architecture to join; visit the website. Also, visit IAS on Facebook.
Japan Art History Forum
The Japan Art History Forum (JAHF) is pleased to announce the publication of The Concept of Danzō:“Sandalwood Images” in Japanese Buddhist Sculpture of the Eighth to Fourteenth Centuries, by Christian Boehm, as part of the Saffron Asian Art and Society Series. In other book-related news, JAHF has announced that MIT’s Visualizing Cultures, a pioneering online center for image-driven scholarship, has dedicated its two latest chapters to contemporary Japanese paintings and photographs excavated from museum vaults and private artists’ collections. “The Forgotten Reportage Painters” chapter focuses on four painters who transformed a forgotten history of resistance in the 1950s into daringly original works of art. “Hamaya Hiroshi’s Photos” recontextualizes the Magnum photographer Hiroshi’s iconic images of the massive anti-Security-Treaty protests in Tokyo in 1960. Hiroshi’s book, Days of Rage and Grief, has long been out of print, and the vintage prints were buried in his personal archive for fifty years. Now, for the first time, these buried masterworks have been permanently archived in an online gallery. JAHF would also like to alert its members to a documentary film by Linda Hoaglund, called ANPO:Art X War (2010), which tells the untold story of resistance to United States military bases in Japan after the passing of the 1960 Treaty of Mutual Cooperation and Security between the US and Japan.
National Council of Arts Administrators
The National Council of Arts Administrators (NCAA) is looking forward to seeing old and new friends at CAA’s 2013 Annual Conference in New York. The NCAA annual reception will be held on Thursday, February 14, from 5:00 to 8:00 PM at the New York Hilton. A joint CAA/NCAA session, “Hot Problems/Cool Solutions in Arts Leadership,” will be presented on Wednesday, February 13, from 12:30 to 2:00 PM. Also, NCAA is pleased to announce its new website. Those with up-to-date memberships will receive an email message to assist in creating a new log-in ID and password. This gives you access to the members area, where one can post positions, email the membership, link to arts administrators’ resources, and use a discussion forum. Please note: this area will be accessible for current members only, so register today to join NCAA!
National Council on Education for the Ceramic Arts
Registration is now open for “Earth/Energy,” the forty-seventh annual conference of the National Council on Education for the Ceramic Arts (NCECA), taking place March 20–23, 2013, in Houston, Texas. Programming includes a keynote lecture by the artist Janine Antoni, panel discussions, gallery presentations, and more than seventy exhibitions of ceramic art throughout the greater Houston region. The conference will take place at the George R. Brown Convention Center, 1001 Avenida de las Americas, Houston, Texas 77010.
Society for Photographic Education
Registration is now open for the Society for Photographic Education’s (SPE) fiftieth annual conference, “Conferring Significance: Celebrating Photography’s Continuum,” taking place in Chicago, Illinois, March 7–10, 2013. Join 1,500 artists, educators, and photographic professionals for programming and dialogue that will fuel your creativity—presentations, industry seminars, and critiques to stimulate and engage you! Explore our exhibits fair featuring over seventy exhibitors showing the latest equipment, processes, publications, and schools with photo-related programs. Participate in one-on-one portfolio critiques and informal portfolio sharing, and take advantage of student volunteer opportunities for reduced admission. Other conference highlights include a print raffle, a silent auction, film screenings, exhibitions, tours, receptions, a dance party, and more! Keynote speakers include Richard Misrach, Martin Parr, and Zwelethu Mthethwa. You can preview the conference schedule and register online at the conference website.
Society for the Study of Early Modern Women
The Society for the Study of Early Modern Women (SSEMW) has recently updated its website. Members may now directly upload their news, announcements of publications, and upcoming conferences. New officers for 2012–13 are Abby Zanger as vice president and Deborah Uman as treasurer. SSEMW is closely associated with the Attending to Early Modern Women Conference, which took place earlier this year at the University of Wisconsin in Milwaukee. The society’s annual meeting took place in late October at the Sixteenth Century Studies Conference in Cincinnati, Ohio. This year’s plenary speaker was Lisa Vollendorf of San José State University, who presented, “Towards a History of Gender Violence: Methodologies and Challenges.” Her talk was followed by the SSEMW business meeting and reception. SSEMW sponsored seven sessions at the conference.
Society of Architectural Historians
The Society of Architectural Historians (SAH), in partnership with the University of Virginia Press, has launched SAH Archipedia and SAH Archipedia Classic Buildings: two editions of an interactive, media-rich online encyclopedia of American architecture. SAH Archipedia is the full edition that links to scholarly resources and is available through Rotunda, the digital imprint of the University of Virginia Press; it is accessible through institutional or individual subscriptions. SAH Archipedia Classic Buildings is a free edition that will contain one hundred of each state’s most representative buildings as well as teacher guides for using the information in the classroom. SAH has also launched its new streamlined website, which features members-only access areas. The majority of the website is open to the public and includes the ability to create a website account to post comments on the SAH blog and to post opportunities/calls for papers/sessions, awards, fellowships, grants, exhibitions, conferences, and events.
Society of North American Goldsmiths
The Society of North American Goldsmiths (SNAG) has updated their website; new features include an elegant new look, updated content, improved navigation, and a higher level of functionality. As a part of this new site, SNAG has created Maker Profiles, a location for the online portfolios of artist members. This is a great destination for anyone looking for wonderful and interesting new work. Come check out why the artists, designers, jewelers, and metalsmiths of SNAG are the best in the field! SNAG recently published its annual special exhibition in print issue of Metalsmith. Guest edited by Valerie Steele, director and chief curator of the Museum at the Fashion Institute of Technology, the issue takes a look at the sinister pleasures of Gothic-influenced jewelry and metal art. This darkly beautiful issue is available online at Qmags.com and in print. In addition, SNAG has coordinated an exhibition of the featured work, taking place December 7, 2012–March 10, 2013, at the National Ornamental Metal Museum in Memphis, Tennessee.
Visual Resources Association
The Visual Resources Association (VRA) has produced a guidelines document of particular importance to educational image users. VRA’s Statement on the Fair Use of Images for Teaching, Research, and Study complements the highly regarded Code of Best Practices for Academic and Research Libraries facilitated by the Center for Social Media and the Washington College of Law’s Program on Information Justice and Intellectual Property. Written by the attorney Gretchen Wagner, with the guidance of an advisory committee of prominent copyright scholars and legal experts, the VRA guidelines describes six uses of still images that the association believes fall within the United States doctrine of fair use: (1) preservation; (2) use of images for teaching purposes; (3) use of images on course websites and in other online study materials; (4) adaptations of images for teaching and classroom work by students; (5) sharing images among educational and cultural institutions to facilitate teaching and study; and (6) reproduction of images in theses and dissertations. The Association of Research Libraries (ARL) has characterized the VRA guidelines as “a clear and concise statement of best practices around a medium that can seem especially intimidating for educational users. It is a reliable guide, written by professionals who work with images every day and vetted by well-known experts in the field of copyright law.” On February 26, 2012, CAA’s Board of Directors voted unanimously to endorse both VRA’s and ARL’s fair-use guidelines.
Jeffrey R. Hayes: In Memoriam
posted by CAA — October 24, 2012
Tanya J. Tiffany is associate professor of art history in the Department of Art History at the University of Wisconsin in Milwaukee.
Jeffrey R. Hayes
Jeffrey R. Hayes, professor of art history and director of the master’s degree program in liberal studies at the University of Wisconsin in Milwaukee, died on June 18, 2012. Hayes was an exceptional scholar, teacher, and colleague, and a pioneering figure in the field of outsider art in the United States.
Hayes received his BA in history from Wake Forest University in Winston-Salem, North Carolina, in 1967. Following his service as captain in the US Army during the Vietnam War (from which he received an honorable discharge as a conscientious objector), Hayes returned to his native Maryland. In 1972 he earned an MLA in the history of ideas at Johns Hopkins University; the multidisciplinary scope of that program introduced him to art history. A decade later he completed his PhD in art history at the University of Maryland, where he worked under the guidance of Elizabeth Johns, who became a lifelong mentor and friend.
Hayes’s expertise in American art was far reaching. Building on his dissertation research, his first major scholarly works included an exhibition and catalogue as well as two groundbreaking monographs on the modernist painter Oscar Bluemner: Oscar Bluemner: Landscapes of Sorrow and Joy (Washington, DC: Corcoran Gallery of Art, 1988) and Oscar Bluemner (New York: Cambridge University Press, 1991). Hayes then turned his attention to curating exhibitions and writing catalogues on major collections and figures in outsider art, including Common Ground/Uncommon Vision: The Michael and Julie Hall Collection of American Folk Art, which was coauthored with Russell Bowman and Lucy Lippard and published by the Milwaukee Art Museum in 1993; The Art of Carl McKenzie (Milwaukee: UWM Art Museum, 1994); and Signs of Inspiration: The Art of Prophet William J. Blackmon (Milwaukee: Patrick and Beatrice Haggerty Museum of Art, Marquette University, 1999).
In recent years Hayes returned to his research on Bluemner’s art with the volume Bluemner on Paper (New York: Barbara Mathes Gallery, 2005), and at the time of his death he was writing about the Wisconsin sculptors Mona Webb and Thomas Owen Every, known as Dr. Evermor. In addition to his many influential publications, Hayes also received prestigious awards and fellowships from institutions including the Smithsonian, the National Endowment for the Humanities, and the American Philosophical Society.
From 1982 until his death, Hayes taught in the Department of Art History at University of Wisconsin in Milwaukee, where he also served as department chair from 1989 until 1996. In 2000, he founded the master’s degree program in liberal studies, the only degree of its kind in the state school system; he remained the program’s director until his death.
Hayes was extraordinarily generous as a colleague and as a mentor to his many graduate students; his boundless energy, kindness, and humor will be greatly missed. In addition to his scholarship, Hayes was a strong political activist as well as an avid tennis player, fisherman, and swimmer.
Jeffrey Hayes is survived by his wife, Leslie; his three children, Eli, Zachary, and Ursula; and by his grandchildren.
Read another obituary on Hayes in the Milwaukee Journal Sentinel.
Solo Exhibitions by Artist Members
posted by CAA — October 22, 2012
See when and where CAA members are exhibiting their art, and view images of their work.
Solo Exhibitions by Artist Members is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
October 2012
Mid-Atlantic
Terence Hannum, Empyrean, 2012, gouache on paper, 30 x 22 in. (artwork © Terence Hannum)Terence Hannum. Stevenson University Art Gallery, Stevenson, Maryland, August 27–October 6, 2012. Veils. Drawing and collage.
Midwest
Linda Stein, Defender 696, 2010, leather, metal, and mixed media, 38 x 22 x 14 in. (artwork © Linda Stein)Linda Stein. George A. Spiva Center for the Arts, Joplin, Missouri, July 19–September 7, 2012. The Fluidity of Gender: Sculpture by Linda Stein. Sculpture.
Northeast
Sharon Butler, Rooftop Structure (Green), 2012, pigment and binder on prestretched canvas, 18 x 24 in. (artwork © Sharon Butler)Sharon Butler. Real Art Ways, Hartford, Connecticut, September 20–November 11, 2012. Sharon Butler: Gone Wrong. Painting.
Cora Cohen. Heather Gaudio Fine Art, New Canaan, Connecticut, September 29–November 29, 2012. Another Blank Space: Recent Paintings by Cora Cohen. Painting.
Dianna Frid, The Waves, 2011, unique book with canvas, cloth, embroidery floss, adhesives, paper, acrylic paint, and cellophane, 7½ x 11½ in. open, 7½ x 21½ in. closed (artwork © Dianna Frid)Dianna Frid. BravinLee Programs, New York, September 6–October 13, 2012. “The Waves” and “The Comets.” Artist’s books.
John William Keedy, It’s Hardly Noticeable XV, 2012, archival pigment print, 27 x 40 in. (artwork © John William Keedy)John William Keedy. Genesee Center for the Arts and Education, Rochester, New York, September 14–October 27, 2012. It’s Hardly Noticeable. Photography.
Michael Rich, First Signs of Spring, 2011, oil and wax on canvas, 40 x 36 in. (artwork © Michael Rich)Michael Rich. Chace-Randall Gallery, Andes, New York, September 21–November 4, 2012. Traveler. Painting.
Michael Rich, All Is Quiet, 2012, oil and wax on canvas, 29 x 35 in. (artwork © Michael Rich)Michael Rich. Old Spouter Gallery, Nantucket, Massachusetts, August 10–23, 2012. Restoration. Painting.
Lorna Ritz, Darkness Falling, 2010, oil on canvas, 40 x 50 in. (artwork © Lorna Ritz)Lorna Ritz. Augusta Savage Gallery, University of Massachusetts, Amherst, Massachusetts, September 10–28, 2012. Falling into the Night Sky. Painting.
Fotini Vurgaropulou. A Repeat Performance, Antiques etc, Greenwood Lake, New York, October 8–November 2, 2012. Cast & Reel. Cast glass sculpture and mixed media.
South
Heather Deyling, detail of Color Sprawl, 2012, acrylic on felt (artwork © Heather Deyling)Heather Deyling. Cochenour Gallery, Georgetown College, Georgetown, Kentucky, August 24–September 16, 2012. Color Sprawl: Works by Heather Deyling. Painting, collage, and installation.
Corinne Diop, Circle, 2012, photomontage, 30 x 20 in. (artwork © Corinne Diop)Corinne Diop. Smith House, Arts Council of the Valley, Harrisonburg, Virginia, September 7–October 1, 2012. Surface. Photomontage and mixed media.
Rev. James Randolph DentonBeauvais Lyons. Downtown Gallery, University of Tennessee, Knoxville, Tennessee, September 7–8, 2012. The Legacy of Rev. James Randolph Denton: Performance and Installation. Printmaking and taxidermy.
Judith Pratt, Shunga, 2011, acrylic and magnets on wood, 60 x 28 x 28 in. (artwork © Judith Pratt)Judith Pratt. Charles E. Beatley Jr. Central Library, Alexandria Commission for the Arts, Alexandria, Virginia, August 1–December 27, 2012. Judith Pratt: Portable Apparitions. Sculpture.
Linda Stein, Justice for All 698, 2010, acrylicized metallic paper, archival inks, and mixed media, 79 x 40 x 9 in. (artwork © Linda Stein)Linda Stein. Alexandria Museum of Art, Alexandria, Louisiana, September 21–November 24, 2012. The Fluidity of Gender: Sculpture by Linda Stein. Sculpture.
People in the News
posted by CAA — October 17, 2012
People in the News lists new hires, positions, and promotions in three sections: Academe, Museums and Galleries, and Organizations and Publications.
The section is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
October 2012
Academe
Steven BleicherSteven Bleicher, an artist and professor of foundations in the Department of Visual Arts at Coastal Carolina University in Conway, South Carolina, has been promoted to associate dean of the Thomas W. and Robin W. Edwards College of Humanities and Fine Arts at his school.
Lucy Bradnock, formerly managing editor of the Getty Research Journal and a research associate at the Getty Research Institute in Los Angeles, California, has been appointed lecturer in art history at the University of Nottingham in England.
Blane De St. Croix, an installation artist and sculptor, has been appointed to head the Sculpture Department with the rank of tenured associate professor at the Henry Radford Hope School of Fine Arts at Indiana University in Bloomington. De St. Croix was formerly associate professor of sculpture at Florida Atlantic University in Boca Raton.
Andrea Giunta has been appointed to the newly established endowed chair in Latin American art history and criticism in the department of art and art history at the University of Texas at Austin. Her position is partially endowed by a $1 million grant from the Longhorn Network and an anonymous matching donation. Giunta founded the school’s Center for Latin American Visual Studies program in 2009.
Elisa P. Korb, assistant professor of humanities at Anderson University in Anderson, Indiana, has accepted a position as assistant professor of fine arts at Misericordia University in Dallas, Pennsylvania.
Jason LaFountainJason LaFountain, a recent PhD graduate from Harvard University in Cambridge, Massachusetts, has joined the Art History Department of Northwestern University in Evanston, Illinois, as the Terra Foundation Postdoctoral Fellow in American Art. LaFountain specializes in colonial American and early modern British subjects.
Alix Lambert, an artist and filmmaker, has been named visiting assistant professor at the Henry Radford Hope School of Fine Arts at Indiana University in Bloomington.
Richard Meyer, formerly an associate professor of art history and fine arts at the University of Southern California in Los Angeles, has been appointed professor of art history at Stanford University in Stanford, California.
Guna Nadarajan, formerly vice provost for research and dean of graduate studies at Maryland Institute College of Art in Baltimore, has been selected as the new dean of the School of Art and Design at the University of Michigan.
Howard Paine, associate professor of printmaking at the Memphis College of Art in Tennessee, has been released from the faculty. The controversial decision to eliminate several positions, in June 2012, was made as a result of the college’s financial burden.
Museums and Galleries
Ethan Lasser, a former curator of the Chipstone Foundation in Milwaukee, Wisconsin, has been appointed Margaret S. Winthrop Associate Curator of American Art in the Harvard Art Museums’ Division of European and American Art, where he is currently developing two new exhibitions, The Practice and Poetics of Repair and Makers: Craft and Industry in American Art.
Melissa Jordan LoveMelissa Jordan Love has been appointed the first academic curator of the Fralin Museum of Art at the University of Virginia in Charlottesville. Love holds a joint appointment in the McIntire Department of Art in the College of Arts and Sciences and will participate in the new Institute of the Humanities and Global Cultures.
Elizabeth MilroyElizabeth Milroy, professor of art history and American studies at Wesleyan University in Middletown, Connecticut, has joined the Division of Education at the Philadelphia Museum of Art in Pennsylvania as Zoë and Dean Pappas Curator of Education for Public Programs. Milroy is a specialist in the history of the city of Philadelphia and a scholar of cultural institutions in the United States.
Mary Morgan Darby Radcliff has served as a summer 2012 intern at the National Gallery of Art in Washington, DC, where she assisted the Development Office. Radcliff is pursuing an MA in visual arts administration at New York University.
Anne-Imelda Radice (photograph by Dennis Brack)Anne-Imelda Radice, a senior consultant for the Dilenschneider Group and a member of the CAA Board of Directors, has been named the director of the American Folk Art Museum in New York.
David RussickDavid Russick has joined the staff of the Milwaukee Art Museum in Wisconsin as its new exhibition designer. Russick formerly was the chief designer at the Indianapolis Museum of Art in Indiana.
Institutional News
posted by CAA — October 17, 2012
Read about the latest news from institutional members.
Institutional News is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
October 2012
The Cincinnati Art Museum in Ohio has been awarded a $1.5 million grant by the state of Ohio in support of a major renovation project of the museum’s Romanesque revival building, library, and archives. In addition, the museum has also won a grant from the Institute of Museums and Library Services for $149,656, with a matching amount of $176,722, to aid its digital inventory of approximately 25,000 works on paper, including pastels, watercolors, posters, and illustrated books.
Karl KilinskiThe Meadows School of the Arts at Southern Methodist University in Dallas, Texas, has received a $1.5 million gift from the estate of the late professor Karl Kilinski to fund an endowed chair in Hellenic visual vulture. The award will allow the university to hire a professor with expertise in the art of the Bronze Age, classical Greece, and Byzantium.
The Mount Holyoke College Art Museum in South Hadley, Massachusetts, has received a Museums for America grant from the Institute of Museums and Library Services for $148,599, with a matching amount of $400,696. The grant will be used to digitize approximately four thousand objects in its collection, including works on paper, objects of American material culture, and American and European silver.
The Museum of Fine Arts, Houston has won a grant from the Institute of Museums and Library Services for $146,559, with a matching amount of $264,122. The award will be used to develop the Texas Artisans and Artists Archive, a digital resource that documents the lives and practices of individuals who lived and worked in Texas in the early twentieth century.
Claude Lorrain, Ideal View of Tivoli, 1644, oil on canvas, 117 x 147 cm. New Orleans Museum of Art (artwork in the public domain)The New Orleans Museum of Art in Louisiana has received a Museums for America grant of $150,000, with a matching amount of $360,179, to help fund the second phase of a digitization project that will make ten thousand images of works held in the collection accessible online.
The Philadelphia Museum of Art in Pennsylvania has been awarded a Museums for America grant of $150,000, with a matching amount of $444,884. The award money will be applied to a digitization project of more than four thousand items in the museum’s holdings, including paintings and decorative objects from its Chinese collection.
Philbrook Museum of Art in Tulsa, Oklahoma, has received a grant from the Institute of Museums and Library Services for $141,232, with a matching amount of $143,162, to support a program, called Free 2nd Saturdays, that seeks diversify the museum’s public.
The Seattle Art Museum in Washington has earned a grant from the Institute of Museums and Library Services for $140,000, with a matching amount of $146,134. The funds will support the museum’s teen programs, which help educate young people using the museum’s collection.
The Virginia Museum of Fine Arts in Richmond has received a Museums for America grant of $150,000, with a matching amount of $550,622, to aid in the creation of an online catalogue of the museum’s collection. The new catalogue system will make accessible works of art that are held in offsite storage facilities.
The Walters Art Museum in Baltimore, Maryland, has won a grant from the Institute of Museums and Library Services for $111,615, with a matching amount of $298,447. The museum will apply the money toward a twenty-three-month educational program called American Visions: Engaging the Community with American Art.
The Worcester Art Museum in Worcester, Massachusetts, has received a grant of $123,679 administered by the Institute of Museums and Library Services. The award will aid in the museum’s digital archiving of eight hundred American and European paintings currently in storage. The project will make available works by artists such as Mary Cassatt, John Singer Sargent, Gustave Courbet, and Camille Pissarro.
Grants, Awards, and Honors
posted by CAA — October 15, 2012
CAA recognizes its members for their professional achievements, be it a grant, fellowship, residency, book prize, honorary degree, or related award.
Grants, Awards, and Honors is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
October 2012
Fred C. Albertson, associate professor in the Department of Art at the University of Memphis in Tennessee, has been named a 2012–13 Getty Scholar at the Getty Research Institute in Los Angeles, California. Albertson will be in residence at the Getty Villa in Malibu, working on a project titled “Palmyrene Sculpture in North American Museums.”
Ronni Baer, the William and Ann Elfers Senior Curator of Paintings at the Museum of Fine Arts, Boston, has been named a Museum Guest Scholar at the Getty Research Institute in Los Angeles, California. Baer will be in residence from January to March 2013.
Martina Bagnoli, curator of medieval art at the Walters Art Museum in Baltimore, Maryland, will be a scholar in residence at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. Bagnoli will use her residency to research “The Five Senses and Medieval Art.”
Susanna Berger, a graduate student at the University of Cambridge in England, has been awarded a 2011–13 Samuel H. Kress Fellowship via the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. The title of Berger’s research project is “The Art of Philosophy: Early Modern Illustrated Thesis Prints, Broadsides, and Student Notebooks.”
Kathryn BrownKathryn Brown, assistant professor of art history at Tilburg University in the Netherlands, has been awarded a funded visiting fellowship at the Humanities Centre of the Australian National University in Canberra for July and August 2013. Her project is titled “Global Art and the Networked City.”
Kaira Marie CabañasKaira Marie Cabañas, a lecturer and director of the MA Program in Modern Art: Critical and Curatorial Studies in the Department of Art History and Archaeology at Columbia University in New York, has been named a 2012–13 Getty Scholar at the Getty Research Institute in Los Angeles, California. She will spend her residency on “Expressive Restraint: Geometric Abstraction and the History of Madness in Brazil.”
Matthew P. Canepa, assistant professor of art history at the University of Minnesota, Twin Cities, will be a Getty Scholar in residence at the Getty Villa in Malibu, California. Canepa, a specialist in the art and archeology of ancient Iran and the Mediterranean, will be working on a project, “Royal Glory, Divine Fortune: Contesting the Global Idea of Iranian Kingship in the Hellenized and Iranian Near East, Central and South Asia (330 BCE–642 CE).”
Tiziana D’Angelo, a doctoral candidate in the Department of the Classics at Harvard University in Cambridge, Massachusetts, has been awarded a predoctoral fellowship from the Getty Research Institute in Los Angeles, California. D’Angelo’s residency will be devoted to a research project, titled “Travelling Colors: Artistic Models and Cultural Transfers in South Italian Funerary Wall Painting (IV–II BCE).”
Thierry de Duve, emeritus professor at the Charles de Gaulle Université Lille 3 in Villaneuve, France, has been awarded a William C. Seitz Senior Fellowship at the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC. His research project is called “Manet’s Testament, Duchamp’s Message, Broodthaers’ Lesson.”
Jessica Feldman, an intermedia artist based in New York, has earned an emerging artist fellowship from Socrates Sculpture Park in Long Island City, New York. An exhibition of outdoor work by the fifteen fellowship recipients will be on view from September 9, 2012, to March 31, 2013.
Ksenya GurshteinKsenya Gurshtein, a recent PhD graduate of the University of Michigan in Ann Arbor, has been named a 2011–13 Andrew W. Mellon Postdoctoral Curatorial Fellow at the National Gallery of Art in Washington, DC.
Cynthia Hahn, professor of art history at Hunter College and the Graduate Center, City University of New York, has been named an Ailsa Mellon Bruce Senior Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. Hahn will use the fellowship to work on her project, “Reliquaries: Objects, Action, Response.”
Marius Bratsberg Hauknes, a doctoral candidate in the Department of Art and Archaeology at Princeton University in Princeton, New Jersey, has been awarded a twenty-four-month Chester Dale Fellowship. The 2011–13 fellowship is administered by the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. Hauknes’s dissertation is titled “Imago, Figura, Scientia: The Image of the World in Thirteenth-Century Rome.”
Jessica L. HortonJessica L. Horton, a PhD candidate in the Graduate Program in Visual and Cultural Studies at the University of Rochester in Rochester, New York, has been named a 2011–13 Wyeth Fellow through the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. She will use her fellowship, from the International Dissertation Research Fellowship Program, to conduct research on “Places to Stand: Native Art beyond the Nation.”
Mark Jamra, a typographic designer and associate professor at the Maine College of Art in Portland, has won a Stonington Residency at the Stephen Pace House in Stonington, Maine. The residency provides studio space and living accommodations and is open only to college alumni, faculty, and staff members.
Paul B. JaskotPaul B. Jaskot, professor of the history of art and architecture at DePaul University in Chicago, Illinois, has been named Ailsa Mellon Bruce Visiting Senior Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. Jaskot will use his fellowship to work on a project, titled “Cultural Fantasies, Ideological Goals, and Political Economic Realities: The Built Environment at Auschwitz.”
Nathaniel B. JonesNathaniel B. Jones, a doctoral student in art history at Yale University in New Haven, Connecticut, has received the David E. Finley Fellowship via the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. He intends to conduct research on his dissertation, “Nobilibus pinacothecae sunt faciundae: The Inception of the Roman Fictive Picture Gallery,” in Europe for two years, spending the third year of the fellowship in residence at CASVA.
Jennifer Josten, assistant professor in the Department of History of Art and Architecture at the University of Pittsburgh in Pennsylvania, has been named a Getty Postdoctoral Fellow at the Getty Research Institute in Los Angeles, California. Josten’s project is titled “Mathias Goeritz’s Arquitectura Emocional: Shades of the New Monumentality in Midcentury Mexico.”
Subhashini Kaligotla, a poet and a doctoral student in the Department of Art History and Archaeology at Columbia University in New York, has been named an Ittleson Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. Her fellowship, which spans from 2012 to 2014, will be devoted to her dissertation, “Shiva’s Waterfront Temples: Reimagining the Sacred Architecture of India’s Deccan Region.”
Cindy Kang, a PhD candidate in the Institute of Fine Arts at New York University, has been named a Getty predoctoral fellow for 2012–13. Kang will be in residence at the Getty Research Institute in Los Angeles, California, working on her dissertation, “Wallflowers: Tapestry and the Nabis in the Fin-de-siècle France.”
Jinah Kim has been named a National Endowment for the Humanities Fellow at the Getty Research Institute in Los Angeles, California. Kim, a recent PhD graduate of the University of California, Berkeley, will devote her fellowship to “Visions and the Visual: Color in Esoteric Buddhist Visual Practices in Medieval South Asia.”
Stuart Lingo, associate professor of art at the University of Washington’s School of Art in Seattle, has been named a Samuel H. Kress Senior Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. Lingo will use his fellowship to work on a project titled “Bronzino’s Bodies: Fortunes of the Ideal Nude in an Age of Reform.”
Beili Liu, a multidisciplinary artist and associate professor of art at the University of Texas at Austin, received the Distinction Award at the 2011 Kaunas Biennial in Lithuania. Liu’s art uses elemental materials, such as wood, paper, salt, metal, and incense, to transform gallery spaces into meditative installations.
David S. Mather, who recently earned his PhD in the Visual Arts Department at the University of California, San Diego, has received a postdoctoral fellowship from the Getty Research Institute in Los Angeles. Mather will use his residency at the Getty Center to further develop “‘The Wild Joy of Color’: Boccioni and the European Avant-Garde,” a chapter from his dissertation.
Jennifer Nelson, a graduate student in the Department of the History of Art at Yale University in New Haven, Connecticut, has been awarded a Robert H. and Clarice Smith Fellowship for 2012–13 from the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. Nelson will use the award to work on “Image beyond Likeness: The Chimerism of Early Protestant Visuality, 1517–1565.”
Joshua O’Driscoll, a doctoral candidate in the Department of the History of Art and Architecture at Harvard University in Cambridge, Massachusetts, has been named a 2011–14 Paul Mellon Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. O’Driscoll will spend time on “Picti Imaginativo: Image and Inscription in Ottonian Manuscripts from Cologne.”
Ann E. PatnaudeAnn E. Patnaude, a PhD student in the Department of Art History at the University of Chicago in Illinois, has received a twelve-month Chester Dale Fellowship for 2012–13, administered by the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. Her dissertation is called “Locating Identity: Mixed Inscriptions in Archaic and Classical Greek Pottery and Stone, ca. 675–336 BCE.”
Gabriel Huquier, after François Boucher, Chinese Man and Woman Fishing at the Fish-Pond, ca. 1738–45, etching and engraving, 11⅞ x 9 5/16 in. Metropolitan Museum of Art, New York (artwork in the public domain)David Pullins, a doctoral candidate the Department of the History of Art and Architecture at Harvard University in Cambridge, Massachusetts, has been named a David E. Finley Fellow for 2012–15. The fellowship, which comes from the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC, will allow him to work on his dissertation, “Cut and Paste: The Mobile Image from Watteau to Pillement.”
William W. Robinson, the Maida and George Abrams Curator of Drawings in the Fogg Museum’s Division of European and American Art at Harvard Art Museums in Cambridge, Massachusetts, has been named a Museum Guest Scholar at the Getty Research Institute in Los Angeles, California. Robinson will be in residence at the Getty from July to September 2013.
Sophia Ronan Rochmes, a PhD candidate in the Department of the History of Art and Architecture at the University of California, Santa Barbara, has received a predoctoral fellowship from the Getty Research Institute in Los Angeles, California. Rochmes will work on “Shades of Gray: Functions of Color and Colorlessness in Grisaille Manuscripts.”
Jennifer Margaret Simmons Stager, who earned her PhD from the History of Art Department at the University of California, Berkeley, has received a fellowship to study at the Getty Research Institute in Los Angeles, California, supported by the National Endowment for the Humanities. She will be in residence at the Getty Villa in Malibu, researching “The Embodiment of Color in Ancient Mediterranean Art.”
Roberto TejadaRoberto Tejada, the Distinguished Endowed Chair in Art History in the Meadows School of Art at Southern Methodist University in Dallas, Texas, has been named the 2012–13 recipient of the Fulbright-FAAP Distinguished Chair in the Visual Arts. The award from the Fulbright US Scholar Program will enable Tejada to engage in scholarship with faculty and students at the Fundação Armando Alvares Penteado (FAAP) in São Paulo, Brazil.
Krista ThompsonKrista Thompson, associate professor of art history at Northwestern University in Evanston, Illinois, has received an American Council of Learned Societies fellowship for her project, “Photography, Screen, and Spectacle in Contemporary African Diasporic Cultures.”
Ming Tiampo, associate professor of art history at Carleton University in Ottawa, Ontario, has received an honorable mention from the Dedalus Foundation’s Robert Motherwell Book Award for Gutai: Decentering Modernism (Chicago: University of Chicago Press, 2011).
Noa Turel has been awarded a postdoctoral fellowship from the Getty Research Institute in Los Angeles, California. Turel, who recently received her PhD from the University of California, Santa Barbara, will be in residence from September 2012 to June 2013, working on “Living Color: The Animation Paradigm of Pictorial Realism 1350–1550.”
Susan M. Wager, a PhD student in the Department of Art History and Archaeology at Columbia University in New York, has been named a Samuel H. Kress Fellow for 2012–14 from the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. Wager, whose specialty is eighteenth- and nineteenth-century French visual culture, will research her dissertation, titled “Boucher’s Bijoux: Luxury Reproductions in the Age of Enlightenment.”
Gennifer Weisenfeld, associate professor in the Department of Art, Art History, and Visual Studies at Duke University in Durham, North Carolina, has been awarded a grant from the Graham Foundation for Advanced Studies in the Fine Arts for her book, Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 (Berkeley: University of California Press, 2012).
Stephen Hart Whiteman has been awarded a 2012–14 A. W. Mellon Postdoctoral Fellowship at the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC. His project is titled “Vocabularies of Culture: The Landscape of Multiethnic Emperorship in the Early Qing Dynasty (1661–1722).”
Jeff Williams, an artist and assistant professor in studio art at the University of Texas at Austin, has won the 2012 Texas Prize, a $30,000 triennial award sponsored by the Austin Museum of Art/Arthouse. The prize, given to an emerging artist based in Texas, is juried by an international group of artists, scholars, and curators.
Marie Yasunaga, a PhD candidate in the Department of Comparative Literature and Culture at the University of Tokyo in Japan, has received a predoctoral fellowship from the Getty Research Institute in Los Angeles, California. Yasunaga will be a resident from September 2012 to June 2013; her project is titled “Color Theories in Museum Spaces: Installation Experiments by Karl Ernst Osthaus and Karl With. From German Kunstgewerbe-Reformbewegung through Symbolism and Expressionism to the Era of the White Cube.”
Mantha Zarmakoupi, a Humboldt Postdoctoral Fellow in the Archäologisches Institut at the Universität zu Köln in Germany, has been named a 2012–13 Getty Scholar at the Getty Research Institute in Los Angeles, California. Zarmakoupi specializes in classical art and archeology, which she will explore during her residency in a project titled “The Idea of Landscape in Roman Luxury Villas.”