CAA News Today
Books Published by CAA Members
posted by CAA — October 15, 2011
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.
October 2011
Colin Bailey. Fragonard’s Progress of Love at the Frick Collection (New York: Frick Collection, in association with D. Giles, 2011).
Susan Best. Visualizing Feeling: Affect and the Feminine Avant-Garde (London: I. B. Tauris, 2011).
Robert Randolf Coleman. The Ambrosiana Drawings of Giambettino Cignaroli (1706–1770): A Critical Catalogue (Rome: Bulzoni; Milan: Biblioteca Ambrosiana, 2011).
Karen Fraser. Photography and Japan (London: Reaktion Books, 2011).
Luba Freedman. The Classical Myths in Italian Renaissance Painting (New York: Cambridge University Press, 2011).
Maribeth Graybill, ed. The Artist’s Touch, the Craftsman’s Hand: Three Centuries of Japanese Prints from the Portland Art Museum (Portland, OR: Portland Art Museum, 2011).
Rebecca Peabody, ed. Anglo-American Exchange in Postwar Sculpture, 1945–1975 (Los Angeles: Getty Publications, 2011).
Kristin Phillips-Court. The Perfect Genre: Drama and Painting in Renaissance Italy (Burlington, VT: Ashgate, 2011).
Terezita Romo. Malaquias Montoya (Los Angeles: UCLA Chicano Studies Research Center Press, 2011).
Magda Salvesen, Exploring Gardens and Green Spaces from Connecticut to the Delaware Valley (New York: W. W. Norton, 2011).
Susanne Slavick, ed. Out of Rubble (Milan, Italy: Charta, 2011).
Thomas A. Walters. The Arts: A Comparative Approach to the Arts of Painting, Sculpture, Architecture, Music, and Drama (Bloomington, IN: Xlibris, 2011).
William Wroth and Robin Farwell Gavin, eds. Converging Streams: Art of the Hispanic and Native American Southwest (Santa Fe, NM: Museum of Spanish Colonial Art, 2010).
Committee on Women in the Arts Picks for October 2011
posted by CAA — October 10, 2011
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.
October 2011
Wendy Stayman, Chairs, 2007, Swiss pear, macassor ebony, bent laminated plywood, and chrome-tanned calfskin (photograph by David Stansbury and provided by the artist and the Fuller Craft Museum)
Furniture Divas: Recent Work by Contemporary Makers
Fuller Craft Museum
455 Oak Street, Brockton, MA 02301
February 19–October 30, 2011
This exhibition celebrates the contributions of fifteen women—Vivian Beer, Polly Cassel, Gail Fredell, Jenna Goldberg, Barbara Holmes, Kristina Madsen, Sarah Martin, Wendy Maruyama, Judy Kensley McKie, Alison McLennan, Sylvie Rosenthal, Rosanne Somerson, Wendy Stayman, Leah Woods, and Yoko Zeltserman-Miyaji—to studio furniture and provides a snapshot of contemporary developments in the field.
Call and Response: From Artemisia to Frida
Koehnline Museum of Art
Oakton Community College, 1600 East Golf Road, Des Plaines, IL 60016
October 6–28, 2011
This annual juried exhibition of works by artists who identify themselves as women is sponsored by the Women’s and Gender Studies Program of Oakton Community College and the Koehnline Museum of Art. The artists in Call and Response have created works that honor, critique, or expand on the techniques and/or content of a groundbreaking female artist.
Charline von Heyl
Institute of Contemporary Art
University of Pennsylvania, 118 South 36th Street, Philadelphia, PA 19104
September 7, 2011–February 19, 2012
This exhibition is a survey of a decade of productivity by Charline von Heyl, a German-born, New York–based painter of vibrant, enigmatic works. Organized by Jenelle Porter, senior curator at the Institute of Contemporary Art in Boston, the presentation includes collage-based works on paper and eighteen paintings.
Real Time
Douglass Library Galleries
Rutgers University, 8 Chapel Drive, New Brunswick, NJ 08901
September 1–December 9, 2011
The Brainstormers art collective was formed in 2005 by a group of women who chose to use public performance, exhibitions, publications, the internet, and video as a means of forcing a discussion about gender inequities in the contemporary New York art world. For Real Time, the group invited artists from across the country to anonymously share intimate details of their daily lives through whatever format they preferred.
Cecil Beaton, Gertrude Stein, 1935, gelatin-silver print. Cecil Beaton Studio Archive at Sotheby’s. CM3794 (photograph provided by the Contemporary Jewish Museum)
Seeing Gertrude Stein: Five Stories
National Portrait Gallery, Smithsonian Institution
Eighth and F Streets NW, Washington, DC 20001
October 14, 2011–January 22, 2012
With more than fifty artifacts from Gertrude Stein’s life and one hundred works by artists from Europe and the United States, the exhibition focuses on her life and work as an artist, collector, and style maker. The exhibition was previously mounted at the Contemporary Jewish Museum in San Francisco, California, and was a CWA Pick in July–August 2011.
Dana Schutz: If the Face Had Wheels
Neuberger Museum of Art
Purchase College, State University of New York, 735 Anderson Hill Road, Purchase, NY 10577
September 25–December 18, 2011
As the recipient of the 2011 Roy R. Neuberger Exhibition Prize, the Brooklyn-based artist Dana Schutz was awarded an early career survey and monographic catalogue at the Neuberger Museum of Art. The show includes thirty paintings and twelve drawings created since 2001.
Doin’ It in Public: Feminism and Art at the Woman’s Building
Ben Maltz Gallery
Otis College of Art and Design, 9045 Lincoln Boulevard, Los Angeles, CA 90045
October 1, 2011–January 28, 2012
As part of the sweeping Pacific Standard Time, a series of exhibitions and events that surveys the history of art in southern California since the end of World War II, Doin’ It in Public focuses on the contributions of feminist artists who came from the women’s liberation movement to found the Woman’s Building, which in the 1970s and 1980s was the center of feminist art and activism in southern California. Otis College of Art and Design is also sponsoring a symposium, “Still Doin’ It: Fanning the Flames of the Woman’s Building,” on October 15–16, which will bring together participants from the Woman’s Building and emerging feminists to instigate dialogue concerning its history and influence.
A Different Temporality: Aspects of Feminist Art Practice in Australia, 1975–1985
Monash University Museum of Art
Monash University, Caulfield Campus, 900 Dandenong Road, Building F, Ground Floor, Caulfield East, VIC 3145, Australia
October 13–December 17, 2011
This exhibition, curated by Kyra McFarlane, revisits the recent history of Australian feminism to focus on dominant modes of creative practice among a generation of feminist artists. Presented in association with the Melbourne Festival, A Different Temporality is organized around the principle of feminist “forms and ideas which continue to resonate in the present.”
Harmony Hammond: Against Seamlessness
Dwight Hackett Projects
2879 All Trades Road, Santa Fe, NM 87507
October 15–November 26, 2011
The legendary artist Harmony Hammond shows her latest work, a series of monumental abstract paintings that explore in new ways what many consider her signature, sculptural sensuality. An accompanying catalogue with essays by Tirza True Latimer and Julia Bryan-Wilson addresses the artist’s relationship with Minimalism, abstraction, feminism, craft, and process.
2012 Annual Conference Registration Opens
posted by CAA — October 05, 2011
Registration is now open for the 100th Annual Conference, taking place February 22–25, 2012, in Los Angeles. Register before the early deadline, December 16, 2011, to ensure the lowest rate and your place in the Directory of Attendees.
Registration includes access to all conference sessions and to the Book and Trade Fair. Each registrant will receive a copy of the Conference Program and the Directory of Attendees, along with online access to Abstracts 2012 and free admission to selected museums and galleries in southern California during the conference.
Those interested in Career Services should sign up now to secure a place in several high-demand activities. Register for a variety of Professional Development Workshops covering topics ranging from grant writing to tenure issues to marketing your art. Sign up for Mentoring Sessions that include the Artists’ Portfolio Review and Career Development Mentoring. Employers can rent a booth or table in the Interview Hall or post an ad in the Online Career Center.
You may also purchase tickets for a variety of Special Events taking place in southern California, including:
- Centennial Reception at the Los Angeles County Museum of Art
- An Evening at UCLA, which includes an open house at the Hammer Museum, followed by a reception at the Fowler Museum
- Santa Monica and Venice Art Tour
- Tour to the Getty Villa
- Tour to the Getty Center
Space is limited, so please register early.
In honor of the host city, a new Art in LA section on the conference website will provide a window on the Los Angeles art scene from now through the conference. Take a look at works recently included in Pulse Los Angeles, an art fair that took place this past weekend.
Making travel plans and hotel reservations? Check out the special discounts available to conference attendees. Students can take advantage of further reductions on accommodations at select conference hotels.
CAA will regularly update the conference website over the next few months, with additional details on the program, awards, tours, and more. A list of session names and chairs will be posted shortly.
The CAA Annual Conference is the world’s largest international forum for professionals in the visual arts, offering more than two hundred stimulating sessions, panel discussions, roundtables, and meetings. CAA anticipates more than five thousand artists, art historians, students, curators, critics, educators, art administrators, and museum professionals to attend the meeting, which brings CAA’s Centennial year to a close.
Karl Kilinski II: In Memoriam
posted by CAA — October 04, 2011
anis Bergman-Carton is associate professor and chair of art history in the School of the Arts at Southern Methodist University in Dallas, Texas.
Karl Kilinski II
Karl Kilinski II, University Distinguished Teaching Professor of Art History at Southern Methodist University (SMU), died on January 6, 2011, after a long and courageous battle with cancer. He was 64 years old.
Born in New Orleans, Louisiana, Kilinski came to SMU in 1976 after completing a PhD in classical art and archaeology at the University of Missouri. He taught classes on the visual culture of Egypt and Greece, informed by his experiences as a land and underwater archaeologist, as a research fellow at the American School of Classical Studies in Athens, and as board member of the Society for the Preservation of Greek Heritage. His dynamic lectures attracted students from almost every department at SMU, as well as dozens of lifelong learners from the Dallas and Fort Worth communities.
A specialist in Greek vase painting, Kilinski published widely in scholarly journals and authored several books, including The Flight of Icarus through Western Art (2002) and Boetian Black Figure Vase Painting of the Archaic Period (1990). Cambridge University Press had recently accepted The Presence of the Past: Greek Myth in Western Art, the culmination of decade-long research and a teaching project that engaged several generations of MA students in art history, for publication.
Kilinski also served as guest curator for several exhibitions at the Kimbell Art Museum and SMU’s Meadows Museum. He held visiting appointments at the Danish Institute for Study Abroad (DIS) in Copenhagen and at Kwansei Gakuin University in Japan. He was also the recipient of summer grants from the Samuel H. Kress Foundation, the National Endowment for the Humanities, and the Ford Foundation.
Karin Christine Nelson: In Memoriam
posted by CAA — October 04, 2011
Amalia Nelson-Croner is the daughter of the deceased.
Karin Christine Nelson
Karin Christine Nelson, a Salt Lake City native and a thirty-seven-year resident of the Bay Area, passed away peacefully on June 22, 2011, at California Pacific Medical Center in San Francisco, after suffering a cerebral hemorrhage. Nelson worked an independent curator, author, editor, and registrar for several San Francisco museums; was a respected and beloved career counselor for City College of San Francisco; and served on the Alameda County Arts Commission for many years. She was also a brave world traveler with a passion for art, as well as a selfless mother, sister, daughter, and friend.
After graduating with a double major in art history and sociology from Occidental College in Los Angeles in 1969, Nelson opted to explore the globe, traveling widely through India, Indonesia, and several countries in Europe. She lived in Japan for three years, teaching English and learning Japanese. During her time in Asia, she studied and documented traditional weaving and dyeing and amassed a stunning photographic portfolio of traditional textiles, which was later exhibited in the United States. She published articles on Okinawan textiles and was invited to speak at many textile exhibitions.
Upon moving to the Bay Area, Nelson did graduate coursework in museum studies at John F. Kennedy University in Pleasant Hill, California, and later earned her master’s degree in career development at the same institution. In 1983 she began working for the Museum of Craft and Folk Art in San Francisco, an organization with which she was associated for the rest of her life. While there she curated the exhibition Craft Traditions of Okinawa and authored the accompanying essay, “On the Brink: Okinawan Textiles in the 21st Century,” which appeared in the museum’s scholarly journal, A Report, in the fall of 1996. It was also at the Museum of Craft and Folk Art that she and her friend, Delphine Hirasuna, first produced The Art of Gaman: Arts and Crafts from the Japanese American Internment Camps, 1942–1946. Due to their continued efforts, the hugely successful show has toured four museums since 2006, including the Smithsonian American Art Museum in Washington, DC. It will continue traveling across the United States and will also appear in Japan.
Besides working for the Museum of Performance and Design in recent years, Nelson had been a career counselor for City College of San Francisco since 1992. She took pride in helping credit and noncredit students, alumni, and community members and was amazingly successful in assisting them in job placement. A member of the community in Albany, California, for two decades, Nelson served on the Albany Arts Committee, the Albany Waterfront Committee, and the Alameda County Public Art Advisory Committee. She was instrumental in creating the exhibition program at the Albany Community Center and volunteered at Albany public schools to help students experience all sorts of artistic expression. While her children attended Albany High School, she also worked to organize the school’s annual Job Shadow Day.
Nelson was a tireless supporter of several organizations relating to the arts, education, and the environment. She was a generous friend and colleague; a dedicated mother and daughter; and an extremely capable, intelligent, and passionate individual. She will be missed by all who knew her.
A memorial service was held on August 7, 2011, at the Unitarian Universalist Church of Berkeley. Karin Christine Nelson is survived by her mother, Ingeborg Nelson; her brother, Kenneth Nelson Jr.; and two daughters, Katarina and Amalia Nelson-Croner.
Karin Nelson Legacy Scholarship
In honor of Nelson’s commitment to students at City College of San Francisco, the Career Development Counseling Department is accepting donations for the Karin Nelson Legacy Scholarship, which can be mailed to: Karin Nelson Legacy Scholarship, Scholarship Office, MUB 130B, City College of San Francisco, 50 Phelan Avenue, San Francisco, CA 94112.
Karin C. Nelson Memorial Fund
In honor of Nelson’s contributions to the Bay Area arts community, the Alameda County Arts Commission and the Foundation for the Arts in Alameda County have created the Karin C. Nelson Memorial Fund, which will support special projects for arts education and community art programs that were important to her. You can make an online donation or mail one to: Karin C. Nelson Memorial Fund, Foundation for the Arts in Alameda County, PO Box 29004, Oakland, CA 94604-9004.
Add or Update Your Email Address for the Online Board of Directors Election
posted by CAA — September 28, 2011
CAA’s future depends on strong leadership. For the past several years, the organization has offered members the option to vote online in the annual Board of Directors election—and the majority of you have done so. Only a few voters (1.57 percent) use paper ballots sent by mail. Thus the board determined at its February 2011 meeting that future CAA elections will only be conducted online.
In November, CAA will notify you by email when it publishes the statements and biographies for the six candidates participating in the 2012–16 board election. To make sure you receive this message, log into your CAA account to add or update your email address. When the polls open in December, all members can vote by logging into their CAA account.
Committee on Women in the Arts Picks for September 2011
posted by CAA — September 10, 2011
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.
September 2011
Tracey Snelling, “Woman on the Run,” 2008–11, mixed media, dimensions variable (artwork © Tracey Snelling; photograph by Etienne Frossard)
Tracey Snelling’s “Woman on the Run”
Frist Center for the Visual Arts
919 Broadway, Nashville, TN 37203-3822
September 9, 2011–February 5, 2012
Describing her work, the American artist Tracey Snelling has said that she creates new realities that change with her audience’s perception. She gives her impression of a place, its people and their experience, and allows the viewer to extrapolate his or her own meaning. “Woman on the Run,” an installation previously mounted at 21c Museum in Louisville, Kentucky, combines video, photography, and sculpture to tell the story of a mysterious woman sought for questioning in a murder.
“2011 Purdue Conference for Pre-Tenure Women”
Purdue University
155 South Grant Street, West Lafayette, IN 47907-2114
September 22–23, 2011
This second annual meeting on issues facing pretenure women in academia features plenary speeches by Sara Laschever, a researcher on women’s life and career obstacles; Mary Dankoski, a dean, administrator, and professor of family medicine at Purdue University; and Caroline S. Turner, a professor at California State University, Sacramento, and Arizona State University. Sessions include “Promotion and Tenure Document Review,” “Your Plan to Tenure,” and “From Graduate Student to Faculty Member.”
Artemisia Gentileschi, Judith Slaying Holofernes, ca. 1613–14, oil on canvas, 162½ x 100 cm. Galleria degli Uffizi, Florence (artwork in the public domain)
Artemisia Gentileschi: Story of a Passion
Palazzo Reale
Piazza Duomo, 12 – 20122 Milan, Italy
September 22, 2011–January 29, 2012
Organized by Roberto Contini, curator of late Italian and Spanish paintings at the Gemäldegalerie in Berlin, Germany, this exhibition is the first solo survey in Italy of works by Artemisia Gentileschi. Story of a Passion comprises the majority of her oeuvre arranged chronologically in an installation designed by Emma Dante, an internationally renowned Italian director and playwright.
Alina Szapocznikow: Sculpture Undone, 1955–1972
Wiels
Avenue Van Volxemlaan 354, 1190 Brussels, Belgium
September 10, 2011–January 8, 2012
Weils, a contemporary art center in Brussels, Belgium, will show the work of the late Polish sculptor Alina Szapocznikow (1926–1973). For Sculpture Undone: 1955–1972, Elena Filipovic and Joanna Mytkowska has organized a survey of this long-overlooked, Surrealist-inspired artist whose work addressing the female body has become increasingly influential to young feminist artists in the twenty-first century.
Zaha Hadid, WMF Flatware, 2007, stainless steel, dinner fork, 8¾ in.; salad fork, 6⅝ in.; dinner knife, 9⅛ in.; teaspoon, 5⅞ in.; soup spoon, 8⅞ in. Made by Württembergische Metallwarenfabrik AG, Geislingen, Germany (photograph provided by the Philadelphia Museum of Art and Zaha Hadid Architects)
Zaha Hadid: Form in Motion
Philadelphia Museum of Art
26th Street and Benjamin Franklin Parkway, Philadelphia, PA 19130
September 17, 2011–March 25, 2012
The architect Zaha Hadid has designed buildings, interiors, and furniture. Organized by Kathryn Bloom Hiesinger, curator of European decorative arts after 1700 at the Philadelphia Museum of Art, Zaha Hadid: Form in Motion is the first presentation in the United States devoted to her furniture, objects, and footwear. The exhibition is also mounted in a setting that she designed.
Thin Black Line(s)
Tate Britain
Millbank, London SW1P 4RG
August 22, 2011–March 18, 2012
This exhibition explores the role of British women artists of African and Asian descent. Inspired by a series of thought-provoking shows curated by the artist Lubaina Himid in the 1980s, Thin Black Line(s) returns to many artists and works seen back then in order to revisit their place in current debates in contemporary art in the United Kingdom in the decades since.
Affiliated Society News for September 2011
posted by CAA — September 09, 2011
American Council for Southern Asian Art
The fifteenth biennial symposium of the American Council for Southern Asian Art (ACSAA) will take place at the University of Minnesota in Minneapolis from September 22 to 25, 2011. The engaging event will feature speakers presenting a wide range of papers on historical and contemporary art from South Asia, Southeast Asia, and the Himalayan region. Please direct any questions about the symposium to Rick Asher at the University of Minnesota. You may download a PDF of the full program, registration, and related information.
American Institute for Conservation of Historic and Artistic Works
The American Institute for Conservation of Historic and Artistic Works (AIC) has published a second edition of The AIC Guide to Digital Photography and Conservation Documentation. The text has been updated since its first publication in 2008 to include recommendations for Adobe Photoshop Lightroom and an expanded chapter on storage and backup of electronic records. The second edition is also fully illustrated with over 120 color plates, including detailed screenshot instructions for Adobe Photoshop and Adobe Lightroom. This remarkable resource, nearly doubled in size, is available online for $60 (AIC members) and $75 (nonmembers).
Art Historians Interested in Pedagogy and Technology
The new website of Art Historians Interested in Pedagogy and Technology (AHPT), launched in August 2011, allows members to share and use technological resources for education in the visual arts. Projects, publications, and conference information are also available. New members may join via PayPal in order to access this abundance of resources and to contribute to the expanding conversation about technology in the classroom.
AHPT will participate in the upcoming Southeastern College Art Conference (SECAC), taking place November 9–12, 2011, at the Savannah College of Art and Design in Georgia. AHPT’s session, called “Reflections on Where We Are and Where We Are Going with Technology in the Art History Classroom,” will consider integrating technologies into established lecture courses and online teaching, fostering pedagogical change in departments and institutions, and negotiating curricular needs with administrators. The panel, chaired by Marjorie Och of the University of Mary Washington, will include presentations by Fran Altvater of Hillyer College at the University of Hartford in Connecticut; Janice Robertson of Pratt Institute in Brooklyn, New York; and Saul Zalesch of Louisiana Tech University in Ruston. This session marks the inauguration of AHPT’s affiliation with SECAC.
Association for Modern and Contemporary Art of the Arab World, Iran, and Turkey
The Association for Modern and Contemporary Art of the Arab World, Iran, and Turkey (AMCA) held its first international conference, “Modern Arab Art: Objects, Histories, and Methodologies,” in Doha, Qatar, on December 16–17, 2010. Emerging and established scholars shared research, methodologies, and thoughts on the future of the field. In addition, AMCA joined Mathaf: Arab Museum of Modern Art in celebrating the institution’s subsequent opening on December 30.
AMCA mourns the passing of its dear friend and esteemed colleague, Rhonda Saad. In her memory, the organization has established the Rhonda Saad Prize for Best Graduate Paper in Modern Arab Art. Submissions must be produced between June 2010 and October 2011 and may not exceed thirty-five pages, excluding notes and bibliography. They also must be unpublished and sent via email. AMCA will award $500 to the author of the winning paper at the annual meeting of the Middle East Studies Association in December 2011. The prize is sponsored by donations from generous individuals. Deadline: October 1, 2011.
AMCA welcomes Anneka Lenssen, a PhD candidate in the History, Criticism, and Theory of Architecture and Art Department at the Massachusetts Institute of Technology in Cambridge, to its board of directors as treasurer. Lenssen, who recently received a Fulbright scholarship to study the artistic and intellectual movements in Syria from 1960 to 1980, is hard at work on her dissertation, which examines “The Shape of the Support: Painting in Syria’s Twentieth Century.”
Association of Academic Museums and Galleries
At its recent annual conference, held on May 23, 2011, the Association of Academic Museums and Galleries (AAMG) elected new officers to its board. Jill Hartz, executive director of the Jordan Schnitzer Museum of Art at the University of Oregon in Eugene, was elected president for a three-year term. Hartz succeeds David Alan Robertson, the Ellen Philips Katz Director of the Mary and Leigh Block Art Museum at Northwestern University in Evanston, Illinois. The new vice president of strategic planning is Brent Tharp, director of the Georgia Southern University Museum in Statesboro. Kris Anderson, director of the Jacob Lawrence Gallery at the University of Washington in Seattle, has become vice president of communications, and taking over as treasurer is Michiko Okaya, director of art galleries and curator of the College Art Collection at Lafayette College’s Williams Center for the Arts in Easton, Pennsylvania. The new secretary is Lynn Marsden-Atlass, director of the Arthur Ross Gallery at the University of Pennsylvania in Philadelphia.
AAMG summons new papers from members for its next annual conference, to be held on April 28, 2012, at the the University of Minnesota’s Frederick R. Weisman Art Museum in Minneapolis. Papers should refer to the conference topic, “Tools of Engagement: Securing Commitment on Campus.” Deadline: September 15, 2011.
Association of Historians of American Art
The Association of Historians of American Art (AHAA) is offering a travel grant covering expenses (up to $500) for an ABD student of historical art of the United States who is participating in the 2012 CAA Annual Conference in Los Angeles. The recipient must be an active AHAA member enrolled in a graduate program. To enter, please submit the name of the session you plan to participate in and your paper title to Melissa Dabakis, AHAA secretary, using the online form. Deadline: February 1, 2012.
In order to sustain its commitment to scholarship, AHAA has inaugurated an option for lifetime membership. Dues are $750, of which $730 is tax deductible.
The second AHAA symposium will be held in Boston, Massachusetts, on October 12–13, 2012. Details about the symposium will be coming soon.
Historians of Islamic Art Association
The Historians of Islamic Art Association (HIAA) has launched a new and improved website that features benefits for HIAA members as well as public resources for the study of Islamic art and culture. Please consult the Events & Exhibitions section for more information on upcoming HIAA programs at the CAA Annual Conference, the Middle East Studies Association’s annual meeting, and the American Oriental Society’s annual meeting.
Historians of Netherlandish Art
The Historians of Netherlandish Art (HNA) has published a new issue of its open-access, peer-reviewed Journal of Historians of Netherlandish Art. Appearing twice a year, the journal examines Netherlandish art produced during the early modern period (1400–1750) and other work as it relates to Netherlandish art. The new issue comprises four articles: Els Stronks’s “Never to Coincide: The Identities of Dutch Protestants and Dutch Catholics in Religious Emblematics,” expanding on discrepancies between Protestant and Catholic literary practices and identity in the seventeenth-century Dutch Republic; Michael Zell’s “Rembrandt’s Gifts: A Case Study of Actor-Network-Theory,” discerning the relevance of said social theor to the artist’s dealings with his patrons and collectors; Virginie Spenlé’s “‘Savagery’ and ‘Civilization’: Dutch Brazil in the Kunst- and Wunderkammer,” focusing on the collection of exotic objects such as the notorious coconut cup and the shifts in status of such objects; and Renée Kistemaker’s “Between Local Pride and National Ambition: The ‘Amsterdam Museum’ of the Royal Dutch Antiquarian Society and the New Rijksmuseum,” discussing the tension between the national and international aims of the new Rijksmuseum.
International Association of Art Critics
The United States chapter of the International Association of Art Critics (AICA-USA) has appointed two new board members—Jill Connor and João Ribas—by a unanimous vote at its recent annual meeting, held on May 23, 2011. Both will serve the organization through May 2012. Connor is the New York editor of Whitehot Magazine, editor of On-Verge, and a contributor to AfterImage, ArtUS, Art in America, Interview, PAJ: A Journal of Performance and Art, and Sculpture. Ribas, a curator at the List Visual Arts Center at the Massachusetts Institute of Technology in Cambridge, previously held the same title at the Drawing Center in New York. His writing has appeared in numerous art and culture publications.
International Association of Word and Image Studies
The International Association of Word and Image Studies (IAWIS/AIERTI) has published a bilingual volume containing papers from the eighth International Conference of Word and Image, held at the Institut National d’Histoire de l’Art in Paris in 2008. Edited by Véronique Plesch, Catriona MacLeod, and Jan Baetens, Efficacité/Efficacy: How to Do Things with Words and Images (Amsterdam: Rodopi, 2011) focuses on three central inquiries: What do we do with texts and images? How do texts and images become active cultural agents? What do texts and images help us do? The book’s contributions, culled from specialists in the field, cover a wide range of topics, from visual poetry and garden theory to new media art and ekphrasis. The publication aims to offer a broad survey of interactions among language, imagery, anthropology, memory, and writing, presenting a cutting-edge analysis of the study of word and image.
International Sculpture Center
The International Sculpture Center (ISC) is accepting nominations for the 2011 Outstanding Educator Award, which recognizes individual artist educators who have excelled at teaching sculpture in institutions of higher learning. Candidates for this award should be masters of sculptural processes and techniques who have devoted their careers to the education of the next generation and to the advancement of the field as a whole. Anyone can nominate a qualified educator; international submissions are welcomed and encouraged. Recipients receive a feature article in Sculpture, a lifetime ISC professional-level membership, and recognition at an award ceremony to be held at their educational institution (which also receives benefits, such as acknowledgement in Sculpture and a one-year ISC university-level membership). Deadline: October 21, 2011.
Italian Art Society
The Italian Art Society (IAS) seeks papers for the third annual IAS–Kress Lecture Series, taking place in Venice, Italy, in late May or early June 2012. This series enthusiastically promotes intellectual exchanges between art historians of North America and the international community of scholars living or working in Italy. Papers should present a topic related to the host city from any period. One distinguished scholar, necessarily an active IAS member, will receive an honorarium of $700 and an additional $500 allowance for travel and other conference-related expenses. Deadline: January 4, 2012.
IAS provides travel grants to graduate students and recent PhD recipients presenting papers at the annual meetings of the Renaissance Society of America, the Sixteenth Century Society and Conference, the Society of Architectural Historians, the International Congress on Medieval Studies, and the College Art Association. Submissions need not be presented at IAS-sponsored sessions but must consider the art or architecture of Italy. International submissions are encouraged. Deadline: November 1, 2011.
The IAS newsletter, published quarterly and sent to all members via email, is accepting exhibition reviews, short articles, and announcements related to Italian art and architecture. Please contact Kay Arthur, the newsletter editor, with any questions or to send submissions. Deadline: September 15, 2011.
Leonardo/International Society for the Arts, Sciences, and Technology
The San Francisco–based Leonardo/International Society for the Arts, Sciences and Technology (Leonardo/ISAST) has appointed Jeffrey N. Babcock as interim executive director. A current member and former chairman of the organization’s board, Babcock has over thirty years of experience as a senior nonprofit arts and academic executive, consultant, event and media producer, and entrepreneur. He aims to diversify the goals of Leonardo/ISAST and to expand the reach of ArtScience.
Paul Thomas, associate professor in the College of Fine Art at the University of New South Wales in Australia, will moderate a Leonardo Education and Art Forum (LEAF) workshop in collaboration with the Australian Forum at this year’s International Symposium on Electronic Art (ISEA2011) in Istanbul, Turkey. The workshop, entitled “Trans-disciplinary Visual Arts, Science, and Technology Renewal Post New Media Assimilation” and sponsored by the National Institute for Experimental Arts, will address issues encountered in fusing curricula across diverse fields and developing transdisciplinary research and teaching for research and teaching.
The next International Symposium on Electronic Art (ISEA2012), entitled “Machine Wilderness: Re-envisioning Art, Technology, and Nature” and taking place September 19–24, 2012, in Albuquerque, New Mexico, is accepting proposals for papers, workshops, and panels for the formal symposium. Interested parties may also submit suggestions for residencies, artworks, and performances to take place in Albuquerque throughout fall 2012 in conjunction with the event. Deadline: October 15, 2011.
Society for Photographic Education
The Society for Photographic Education (SPE) offers student scholarships to offset the cost of attending the 2012 national conference, “Intimacy and Voyeurism: the Public/Private Divide in Photography,” to be held March 22–25, 2012, in San Francisco. Applicants must be SPE student members currently enrolled as full-time undergraduate or graduate students at a postsecondary institution, concentrating or majoring in photography but not graduating before the end of the 2011–12 academic year. In addition to a cash award, SPE will waive the conference fee and provide a one-year membership. Ten SPE Awards and one SPE Award for Innovations in Imaging will each feature a $500 travel stipend. The Freestyle Crystal Apple Award for Outstanding Achievement in Black and White Photography, generously sponsored by Freestyle Photographic Supplies, includes a $5,000 cash prize and recognition for the sponsoring faculty member. Deadline: November 1, 2011.
Visual Resources Association
The Visual Resources Association (VRA) has recently posted Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images, originally published in 2006, on its website. The public may read the document online or download it as PDFs. Written and organized by Murtha Baca, Patricia Harpring, Elisa Lanzi, Linda McRae, and Ann Whiteside, Cataloging Cultural Objects establishes a metadata standard for the cultural-heritage community. A related online resource, CCO Commons, provides examples and training tools for practical application of the standard, defines key concepts, and offers a toolkit for users. CCO Commons aims to shape and manage information for images of art and architecture, allow increased access to collections, and educate art administrators on best cataloguing practices for museums, libraries, and archives.
Women’s Caucus for Art
The Women’s Caucus for Art (WCA) has announced five recipients of its 2012 Lifetime Achievement Award: Whitney Chadwick, professor emerita of San Francisco State University in California; Suzanne Lacy, artist and chair of fine arts at Otis College of Art and Design in Los Angeles; Trinh T. Minh-ha, a filmmaker, composer, author, and professor at the University of California, Berkeley; Ferris Olin, curator, librarian, and professor at Rutgers University in New Brunswick, New Jersey; and Bernice Steinbaum, a gallerist and advocate for female artists.
In addition, WCA will present its President’s Award for Art and Activism to two women: Cathy Salser, founder of A Window Between Worlds, a national public-art program initiated in 1991 that provides positivity and art therapy to battered women and children; and Karen Davalos, an accomplished author who is also chair and associate professor of Chicana/o studies at Loyola Marymount University in Los Angeles.
The awards ceremony will be held in Los Angeles on February 25, 2012, in conjunction with the organization’s fortieth anniversary celebration and conference, also syncing with the CAA’s 100th Annual Conference. The awards ceremony, free and open to the public, transpires from 6:00 to 7:30 PM in the ballroom of the Kyoto Grand Hotel and Gardens, 120 South Los Angeles Street. A ticketed gala, called “Momentum” and taking place 8:00–11:00 PM, follows the ceremony. Gala plans are still being finalized.
Washington Declaration on Intellectual Property and the Public Interest
posted by CAA — September 07, 2011
With the eighth round of the Trans-Pacific Partnership Agreement taking place this month in Chicago, experts in intellectual property and information policy from around the world have released a Washington Declaration on Intellectual Property and the Public Interest that challenges the dominant direction of the negotiations on intellectual property in the United States’ trade agreements. Those in support of the declaration can express support with an online signature.
The declaration was created through a consultative process with over 180 experts from thirty-five countries in six continents at the Global Congress on Intellectual Property and the Public Interest, which took place August 25–27, 2011, at the Washington College of Law at American University. Citing an “unprecedented expansion of the concentrated legal authority exercised by intellectual property rights holders” through recent trade agreements, the experts call for new efforts to “re-articulate the public interest dimension in intellectual property law and policy.”
Read more about the Trans-Pacific Partnership Agreement in the Chicago Tribune and at Intellectual Property Watch.
George Thomas Noszlopy: In Memoriam
posted by CAA — August 31, 2011
Adrian Hicken, a professor at Bath Spa University in England, is the author of Apollinaire, Cubism, and Orphism (Burlington, VT: Ashgate, 2002).
George Thomas Noszlopy
The sudden death of George Thomas Noszlopy on June 5, 2011, age 78, removes a singular and memorable personality from the ranks of British art historians. A longtime member of CAA and a foundation member of the Association of Art Historians, he made notable contributions to the teaching and dissemination of art history in England for almost fifty years.
For more than a decade at Birmingham Polytechnic, Noszlopy served as course director of an ambitious and challenging master’s degree program of which he had been a principal instigator and architect in the early 1970s. At its height and under his aegis, this department was, perhaps, the largest and one of the most successful for postgraduate study of history of art and design in the country. To this achievement may be added his years of service as a regional convenor and tutor for the Open University and his supervision of many doctoral research candidates, an activity he continued as emeritus professor at Birmingham City University.
Born and educated in Budapest, Noszlopy belonged to a generation formed under two successive regimes: first the right-wing, pseudoparliamentarianism of Admiral Miklós Horthy and then the postwar Stalinism of Mátyás Rákosi and the tragic Imre Nagy. During these years black humor became the language of criticism, if not a technique of survival. Noszlopy was not alone in developing a somewhat wry, sardonic attitude. This was to become mollified later in life with an appreciative embrace of the ironic.
Noszlopy published some poetry while still attending gymnasium, but recognizing these efforts to be too derivative, he turned increasingly to the writing of art criticism and the study of art history. His early work matured in direct contact with major figures such as George Lukács and Robert Berény. Noszlopy shared their desire to search for radical alternatives to the then-dominant Stalinist orthodoxy, an attitude epitomized by his slightly older contemporary at university, the writer, poet, and activist István Eörsi, with whom Noszlopy served in the army.
Noszlopy took his first degree in museology (art history and subsidiary subjects) from Eötvös Lóránd University in 1956. His earliest academic experiences were blighted by his family’s “class alien” designation and the constant investigation of his alleged Trotskyist views. The decision to debar him from all universities and colleges in the country was repealed only after the death of Joseph Stalin in 1953.
During the revolutionary fervor of October 1956, Noszlopy was elected to the Revolutionary Committee of the Hungarian Artists’ Association but was soon arrested following the second Soviet military intervention later that year. He escaped from custody and left Hungary, thanks to the sympathetic assistance of an influential friend. Adopting the transitory existence of a stateless individual, he first lived in Vienna, then had a short sojourn in Paris. Noszlopy later remembered this relatively short period, when a single suitcase held his few possessions, as the most intense sense of freedom he had ever experienced.
After Paris, where he was introduced to a circle of scholars around André Chastel, Noszlopy settled in London, having accepted a grant from the Courtauld Institute of Art. He joined the expatriate intelligentsia gathered around the Irodalmi Ujság (Literary Gazette), the organ of the Hungarian Writers’ Union in exile, becoming a regular contributor until 1961 when the editorial office moved from London to Paris. Thus for some five years Noszlopy was an active participant in this cultural milieu, presided over by such established figures as the essayist and editor Béla Szász, the poet and essayist László Cs. Szabó, the poet György Faludy, and the novelist Tamás Aczél. When Gyula Illyés, the pioneer of surrealist and expressionistic leftist poetry from the interwar years and the leading socialist spokesman for the oppressed peasant class, visited England, Noszlopy acted as his guide.
By this time Noszlopy was a student at the Courtauld, where the renowned Hungarian scholar Johannes Wilde was then coming to the close of his tenure as deputy director. Three years after graduating in 1960, and with the support of Leopold Ettlinger at the Warburg Institute, Noszlopy secured a full-time teaching post at Coventry College of Art. Shortly afterward, he moved to a similar position at Birmingham College of Art and remained in Birmingham throughout his subsequent career.
As an art historian, Noszlopy was quick to embrace the methods of Aby Warburg and Erwin Panofsky. Controversially, while still at the Courtauld, he had extended this methodology to the examination of the iconography of Pablo Picasso’s Demoiselles d’Avignon, to the displeasure of Anthony Blunt. This approach to early-twentieth-century art became evident in Noszlopy’s subsequent studies and seminars on Guillaume Apollinaire and on allegorical imagery in Cubism. The manuscript of a book, “Robert Delaunay’s ‘La Ville de Paris’ and the origins of Orphic Cubism…,” rested in the hands of a publisher for some time but fell victim to an economic downturn. It never appeared. Had a book been published then (1973) it would surely have secured Noszlopy a deserved position among the early, postformalist revisionist historians of Cubism and Orphism.
In 1991 Noszlopy received a DPhil summa cum laude from his alma mater, Eötvös Lóránd University, in recognition of his research on Apollinaire and art in Paris before 1914. This event was emblematic of the scholar’s emotional and physical reconnection with Hungary and his intellectual roots. After years of enforced absence from the country, the thawing of East–West relations offered opportunities for visits, for renewing old friendships, and for reclaiming treasured family possessions. These rediscoveries catalyzed an essay on Tivadar Kosztka Csontváry and two short monographs: the first on an older contemporary, the painter György Gordon, was followed by one devoted to Gordon’s first wife, the caricaturist Edma (Márta Edinger).
While devoting much time to Renaissance and early-twentieth-century European art, Noszlopy was highly responsive to, and enthusiastic about, aspects of British art and crafts hitherto ignored, undervalued, or maligned by local populations and professionals. His study of the painter Bryan Pearce in 1964 was the first monograph devoted to the artist. This was followed by a “Note on West’s ‘Apotheosis of Nelson’” and essays and lectures on the iconography of Britannia. The four volumes in the series Public Sculpture of Britain, surveying the entire West Midlands of England, which Noszlopy had brought to press since 1998, make a fitting memorial to the humanity and humanistic breadth of a scholar who lived and worked in the region for most of his life.