CAA News Today
Exhibitor and Advertiser Prospectus for the New York Conference Published
posted by CAA — September 14, 2010
The Exhibitor and Advertiser Prospectus for the 2011 Annual Conference is now available for download. Featuring essential details for participation in the Book and Trade Fair, the booklet also contains options for sponsorship opportunities and advertisements in conference publications.
The Exhibitor and Advertiser Prospectus will help you reach a core audience of artists, art historians, educators, students, and administrators, who will converge in New York for CAA’s 99th Annual Conference and Centennial Kickoff, taking place February 9–12, 2011. The Book and Trade Fair offers three days of exhibit time and will be centrally located at the Hilton New York, the conference headquarters hotel.
In addition, vital sponsorship packages will allow you to maintain a high profile throughout the conference. Companies and organizations may sponsor specific areas and events, such as Convocation and the Student Lounge, or work with CAA staff to design a custom visibility package. Advertising possibilities include the Conference Program, distributed to over five thousand registrants, and the conference website, seen by thousands more.
The priority deadline for Book and Trade Fair applicants is October 29; the final deadline for applications and payments, and for sponsorships and advertisements, is December 3.
Questions about the Book and Trade Fair? Contact Paul Skiff, CAA assistant director for Annual Conference, at 212-691-1051, ext. 213. For sponsorship and advertising queries, speak to Sara Hines, CAA development and marketing manager, at ext. 216.
Committee on Women in the Arts Picks for September 2010
posted by CAA — September 10, 2010
Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship. The following conference and four exhibitions should not be missed. Check the CWA Picks archive at the bottom of the page, as several exhibitions listed there are still on view.
September 2010
“Heritage and Hope: Women’s Education in a Global Context”
Bryn Mawr College
101 North Merion Avenue, Bryn Mawr, PA 19010
September 23–25, 2010
As part of its 125th anniversary celebration, Bryn Mawr College is hosting an international conference to celebrate the empowering heritage of women’s education and to chart a course for its future. The conference will examine issues of educational access, equity, and opportunity in secondary schools and universities in the United States and around the world. Session topics will include: “Leveling the Academic Playing Field”; “Enhancing Global Networks,” a discussion of current and future collaborative connections among women’s colleges around the world; and “Partnering for Global Justice,” an exploration of potential partnerships among schools, colleges, and international NGOs to promote women’s rights and educational opportunities.
Pauline Boty, With Love to Jean Paul Belmondo, 1962, oil on canvas, 48 x 59 7/8 in. Collection of Nadia Fakhoury, Paris (artwork © Pauline Boty)
Seductive Subversion: Women Pop Artists, 1958–1968
Sheldon Museum of Art
University of Nebraska, Lincoln, 12th and R Streets, Lincoln, NE 68588
July 30–September 24, 2010
Seductive Subversion: Women Pop Artists, 1958–1968 turns on its head the notion that male artists largely dominated this twentieth-century movement. The first major exhibition of its kind, Seductive Subversion features paintings and sculptures by an international group of artists—including Vija Celmins, Rosalyn Drexler, Niki de Saint Phalle, Joyce Wieland, Marisol, Faith Ringgold, and Martha Rosler—that expand the Pop canon as most know it. Sid Sachs, director of exhibitions at University of the Arts in Philadelphia, where the exhibition originated, will deliver a lecture about the exhibition on September 14 at 5:30 PM in the Sheldon’s Ethel S. Abbott Auditorium.
Catherine Opie: Figure and Landscape
Los Angeles County Museum of Art
5905 Wilshire Boulevard, Los Angeles, CA 90036
July 25–October 17, 2010
Catherine Opie explores issues of masculinity, community, and national identity in her current exhibition at the Los Angeles County Museum of Art. A Southern California–based photographer whose diverse body of work includes images of Alaskan landscapes, challenging self-portraits, and urban street scenes, Opie has visited and documented high school football games, players, and fans in seven states across America since 2007. “The high capture, dramatic tenebrism, vivid colour and density of the landscapes are entirely consonant with commercial sports photography,” wrote Christopher Bedford in Frieze, “but Opie’s insistence on recording the endless passages of tedium and readiness that punctuate the experience of a football game makes these images aniconic and elusive.” A second exhibition at the museum, Manly Pursuits: The Sporting Images of Thomas Eakins, is shown in conjunction with Catherine Opie: Figure and Landscape.
Susie (Sarah) Barstow, Landscape, 1865, oil on canvas, 30 x 22 in. Collection of Elizabeth and Alfred Scott (artwork in the public domain; photograph provided by the Thomas Cole National Historic Site)
Remember the Ladies: Women of the Hudson River School
Thomas Cole National Historical Site
218 Spring Street, Catskill, NY 12414
May 2–October 31, 2010
Focusing on nineteenth-century America, Remember the Ladies: Women of the Hudson River School highlights female artists who were contemporary to figures like Asher Durand and Frederic Edwin Church. Curated by Nancy Siegel and Jennifer Krieger, the exhibition features twenty-five works in painting, photography, and drawing manuals by Julia Hart Beers (sister of William and James Hart), Evelina Mount (niece of William Sidney Mount), Susie Barstow, Eliza Greatorex, Harriet Cany Peale, Josephine Walters, and Sarah and Emily Cole (sister and daughter, respectively, of Thomas Cole).
Experimental Women in Flux
Museum of Modern Art
11 West 53rd Street, New York, NY 10019
August 4–November 8, 2010
Organized by Sheelagh Bevan with David Senior, both of the Museum of Modern Art Library, Experimental Women in Flux focuses on artists’ books, event scores, performance instructions, catalogues, periodicals, and other printed matter from the recently acquired Gilbert and Lila Silverman Fluxus Collection Reference Library. Documents of live, ephemeral, and durational work by such artists and performers as Alison Knowles, Charlotte Moorman, Shigeko Kubota, Yoko Ono, and Simone Forti are included. Presented in conjunction with the museum’s publication of Modern Women: Women Artists at The Museum of Modern Art, the exhibition boasts a full website with images and descriptions, as well as audio selections from Mieko Shiomi’s musical portraits of her Fluxus associates.
Ronald V. Wiedenhoeft: In Memoriam
posted by CAA — September 10, 2010
Renate Wiedenhoeft is president of Saskia Ltd. and Scholars Resource.
Ronald V. Wiedenhoeft
Ronald V. Wiedenhoeft, an art and architectural historian and the principal photographer of the Saskia Archive, died on August 14, 2010, after a lengthy illness. He was 73.
Wiedenhoeft graduated from Cornell University as a civil engineer in 1959 and earned a PhD in art history at Columbia University in 1971. He received numerous scholarships and awards from the National Endowment for the Humanities and the Bavarian State in Germany, and two Fulbright grants. Wiedenhoeft taught at the University of Massachusetts in Amherst, the University of Utah, and, for twenty-one years, the Colorado School of Mines. He was also a visiting professor at the Technical Universities in Vienna and Graz, Austria. His publications include Cities for People: Practical Measures for Improving Urban Environments in 1981, Berlin’s Housing Revolutions: German Reform in the 1920s in 1985, and many articles (in German) on urban planning.
Beginning in 1966, yearly photographic campaigns took us to Europe to document works of art in major art collections. Slides and images from our jointly owned company Saskia Ltd. formed the basis for many visual-resource collections and enhance the teaching of art history for so many students. A special project in the late 1970s to document all monuments in St. Peter’s Cathedral resulted in an exhibition at the Denver Art Museum, among others. All Saskia images will continue to live on in Scholars Resource.
Wiedenhoeft is survived by his second wife, Emily; our three children, Sonja, Sabina, and Kurt; and six grandchildren.
Affiliated Society News for September 2010
posted by CAA — September 09, 2010
American Institute for Conservation of Historic and Artistic Works
The American Institute for Conservation of Historic and Artistic Works (AIC) has partnered with the Smithsonian Institution and the US Committee of the Blue Shield to help recover cultural and historic artifacts damaged by the earthquake in Haiti on January 12, 2010. Since April, volunteer AIC conservators, initially only members of the AIC Collections Emergency Response Team, have been working at the Haiti Cultural Recovery Center (maintained by the Smithsonian) in Port-au-Prince and onsite on wall murals, such as those at the Cathedral of Sainte Trinité. In addition to helping set up conservation labs at the center, conservators have performed assessments and treatments ranging from basic stabilization to more complete aesthetic reintegration. In addition to travel costs for the volunteers, grant support has, to date, enabled the purchase of over $8,000 in supplies and tools. AIC response is made possible through the support of the National Endowment for the Humanities, the National Endowment for the Arts, the Institute of Museum and Library Services, and AIC’s foundation.
Appraisers Association of American
The Appraisers Association of America (AAA) has launched its new website. New features include online registration and payment for courses and programs and an improved “Find an Appraiser” tool. Fall programs for fall 2010, which include study days, lectures, events, and the national conference, have also been announced. To register, AAA members will need to sign in and create a username and password.
Arts Council of the African Studies Association
The fifteenth triennial symposium of the Arts Council of the African Studies Association (ACASA) will be held at the University of California, Los Angeles, March 23–26, 2011. Proposals for papers, panels, and roundtables addressing the theme, “Africa and Its Diasporas in the Marketplace: Cultural Resources and the Global Economy,” are invited. Please read the triennial theme announcement for submission guidelines and information on travel support and stipends.
Association for Latin American Art
The second triennial conference of the Association for Latin American Art (ALAA), called “Origins of State/Origins of Identity,” will be held November 13–14, 2010, at the Los Angeles County Museum of Art in California. The event coincides with the museum’s exhibition, Olmec: Colossal Masterworks from Ancient Mexico, and with Obsidian Mirror-Travels: Refracting Ancient Mexican Art and Archaeology at the Getty Research Institute. Responding to the idea of discovery, the conference is divided into three panels reflecting the main areas of research undertaken by the association’s members: pre-Columbian art and architecture, viceregal and colonial art and architecture, and modern and contemporary Latin American and Latino art and architecture. A PDF of the conference program is available for download.
Association of Academic Museums and Galleries
The Association of Academic Museums and Galleries (AAMG) acknowledges that students are one of the prime constituencies of all our institutions as well as our future colleagues and leaders. AAMG values the student voice and student participation, and to kick off this academic year it is offering free one-year student memberships from August 15 to October 15, 2010. To become a member, please send the required information via an online form, along with a digital copy (Word or PDF) of your unofficial transcript or student ID, to Emily Forsgren. Or, mail the application and copy of your student ID or transcript to: AAMG Membership, Mary and Leigh Block Museum of Art, 40 Arts Circle, Northwestern University, Evanston, IL 60208-2410.
Association of Historians of American Art
The Association of Historians of American Art (AHAA) is offering a travel grant to cover CAA Annual Conference expenses up to $500 for an ABD student of historical art of the United States who will travel to the 2011 meeting in New York to participate in the program. The successful recipient must be enrolled in a graduate program and an AHAA member. Deadline: February 1, 2011.
AHAA is hosting a symposium, called “Current Research in American Art,” to be held at St. Francis College in Brooklyn, New York, October 7–9, 2010. The event is free but attendees must preregister and be AHAA members.
To sustain AHAA’s mission of supporting scholarship, the organization has introduced a new lifetime membership. Dues are $750, of which $730 is tax deductible.
Association of Historians of Nineteenth-Century Art
The Association of Historians of Nineteenth-Century Art (AHNCA) has announced that new and standing members may now pay electronically for their annual membership using Google Checkout.
Foundations in Art: Theory and Education
Foundations in Art: Theory and Education (FATE) is hosting its biannual conference, “ON STREAM,” in partnership with the Mid-America College Art Association, another CAA affiliated society. Held in St. Louis, Missouri, the event will take place March 30–April 2, 2011, at the Ball Park Hilton. The conference will explore connections and question the status quo of how “creativity” is being developed and fostered as we enter the second decade of the third millennium. For more details, please contact Jeff Boshart, conference coordinator.
Historians of British Art
The Historians of British Art (HBA) welcomes Peter Trippi as its new first vice president. Currently editor of Fine Art Connoisseur, he will serve a one-year term before assuming the post of HBA president.
HBA is accepting papers for an upcoming minisession of work by emerging scholars to be held during the HBA business meeting at the CAA Annual Conference in New York, February 9–12, 2011. Current or recent graduate students are invited to submit proposals for consideration. (If an applicant is a PhD recipient, his or her degree must have been earned within the past three years.) Papers may address any topic related to British art, architecture, and visual culture. Presentations or “works in progress” should be limited to fifteen minutes to allow for ample discussion. This minisession is an opportunity for informal presentations of new or ongoing research followed by open discussion. To submit a paper for consideration, send the following items to Colette Crossman, HBA second vice president: (1) a one-page abstract; (2) a CV (limited to two pages); and (3) a brief cover letter explaining interest in the field. Upon selection, presenters are requested to join HBA if they are not current members. Deadline: October 1, 2010; decisions made by November 1.
Historians of Eighteenth-Century Art and Architecture
The Historians of Eighteenth-Century Art and Architecture (HECAA) has announced the recipient of the Mary Vidal Travel Award: Iris Moon, a PhD student at the Massachusetts Institute of Technology in Cambridge. She will conduct research on the French architects Charles Percier and Pierre-François-Léonard Fontaine.
Historians of Islamic Art Association
The Historians of Islamic Art Association (HIAA) will hold its second biennial symposium on the theme of “Objects, Collections and Cultures” at the Freer and Sackler Galleries in Washington, DC. Taking place October 21–23, 2010, the program features an opening address by Julian Raby, director of the Freer and Sackler; thematic sessions with formal presentations; seminar-style workshops on art objects in the museums’ collections; and a roundtable discussion on the arts of the object in Islamic art history today. The complete program and registration information are available online.
HIAA is pleased to welcome Stephennie Mulder as the new editor of its listserv, H-Islamart, and to thank the outgoing editor Christiane Gruber for her years of exemplary service.
Historians of Netherlandish Art
The Historians of Netherlandish Art (HNA) has announced the submission deadline—March 1, 2011—for the Summer 2011 issue of the Journal of Historians of Netherlandish Art: Please consult the journal’s submission guidelines for more information about the process. An open-access, peer-reviewed journal published twice per year, JHNA features articles that focus on art produced in the Netherlands (north and south) during the early modern period (ca. 1400–ca.1750) and in other countries and later periods as they relate to this earlier art. These include studies of painting, sculpture, graphic arts, tapestry, architecture, and decoration, from the perspectives of art history, art conservation, museum studies, historiography, technical studies, and collecting history. Book and exhibition reviews, however, will continue to be published in the HNA Newsletter.
International Association of Art Critics
The United States section of the International Association of Art Critics (AICA USA) launched a new website in mid-August. Designed to be more interactive and more attractive visually, the website will be an active tool for information about members’ professional achievements, such as new books, exhibitions, awards, participations in major conferences, and the like. In addition, AICA USA will publish cyclical reports on important issues related to art criticism.
AICA USA has elected a new president, Marek Bartelik, to serve from May 2010 to May 2012. Bartelik teaches modern and contemporary art at the Cooper Union for the Advancement of Science and Art in New York and is a graduate critic-in-residence at the Maryland Institute College of Art in Baltimore.
International Association of Word and Image Studies
The International Association of Word and Image Studies (IAWIS) seeks submissions for the Max Nänny Prize for the best article in word and image studies. First awarded in 2008, the prize—named in honor of the late Max Nänny, a former IAWIS president—is presented every three years on the occasion of the organization’s triennial conference. Both members and nonmembers may submit already published articles, dated no earlier than three years before the submission deadline. Deadline: October 31, 2010.
IAWIS seeks proposals for papers for its ninth international conference, on the theme of “L’imaginaire/The Imaginary.” The meeting will take place in Montreal, Quebec, August 22–26, 2011. Descriptions of all sessions can be found online. Deadline: October 1, 2010.
International Sculpture Center
The International Sculpture Center (ISC) is celebrating its fiftieth anniversary at the Metropolitan Pavilion in New York on October 22, 2010. The evening’s festivities will include a cocktail reception, entertainment, and an art sale featuring works by Fletcher Benton, Chakaia Booker, Mark di Suvero, John Clement, Carole Feuerman, John Henry, Jun Kaneko, Donald Lipski, Jesús Moroles, Manuel Neri, Tom Otterness, Albert Paley, Joel Perlman, Judy Pfaff, Kenneth Snelson, Stretch, James Surls, Boaz Vaadia, and Mia Westerlund, among others to be announced. Also taking place are a raffle—with top prize being a one-week vacation in Saint Martin—and a Chinese auction with fabulous prizes. Honorary hosts for the evening include di Suvero, Snelson, and Joyce Pomeroy Schwartz. Space is limited. Tickets are $350 per person, and tables are available for $3,000 and $5,000. Cocktails start at 6:00 PM with dinner at 7:30 PM. For questions or more information, please write to events@sculpture.org.
Italian Art Society
The Italian Art Society (IAS) invites proposals for the 2011 Italian Art Society/Kress Foundation Lecture in Italy. The lecture series seeks to promote intellectual exchanges among art historians of North America and the international community of scholars living or working in Italy. The lecture will be held in Florence in late May or early June 2011. The proposed lecture may address any period in Italian art but must relate to the city of Florence or the region of Tuscany; it also may not have been previously published or presented at another conference or venue. Application details are published online. Deadline: January 1, 2011.
Leonardo Education and Art Forum
The Leonardo Education and Art Forum (LEAF), a part of Leonardo/The International Society for the Arts, Sciences, and Technology, hosted a two-part panel on “Grand Challenges in Education” at the Los Angeles ACM SIGGRAPH on July 28, 2010. The participants addressed issues in education in light of new opportunities for participatory and collaborative learning in society. Speakers also responded to a white paper issued by the MacArthur Foundation called “The Future of Learning Institutions in a Digital Age.” Panelists were: David T. Goldberg, Rebecca Allen, Pamela Jennings, Sarah Cunningham, Glenn Entis, and Marc Barr. Discussants were Donna Cox, James Foley, Andy van Dam, and Ellen K. Levy, with remarks by Roger Malina.
LEAF sponsored a meeting and workshop, called “Art-Science – Curricular Models and Best Practices,” at the 2010 International Symposium on Electronic Art on August 27, 2010. Leaders of the workshop, which was coordinated by Edward Shanken, were Jennifer Kanary Nikolov, Jill Scott, and Paul Thomas.
Fran Ilich was selected as the winner of the Media Art Histories (MAH) Leonardo Scholarship for notable contributions to the field. MAH is a collaborative project between Leonardo and the Department for Image Science at Danube University Krems in Austria.
LEAF is sponsoring workshops at the Ars Electronica Festival, taking place September 2–11, 2010, in Linz, Austria.
Pacific Arts Association
The Pacific Arts Association (PAA) convened its tenth international symposium, “Pacific Art in the 21st Century: Museums, New Global Communities, and Future Trends,” from August 9 to 11, 2010, in Rarotonga, Cook Islands. PAA hosted over eighty-three presenters and seventy-five presentations, highlighting issues surrounding the creation, dispersal, possession, repatriation, stewardship, and interpretation of Pacific art in the twenty-first century. The symposium welcomed three keynote speakers: Michelle Hippolite of Te Papa Tongarewa, Museum of New Zealand; Jean-Marc Pambrun of the Museum of Tahiti and Her Islands; and Jonathan Mane-Wheoki of Auckland University. Special exhibitions, artist presentations, and events included Janet Lilo’s TOP16, curated by Ron Brownson; a craft exhibition; Nanette Lela’ulu’s In the House of My Heart; Wrapping the Cook Islands: Tivaivai; and the launch of Art Monthly Australia’s special Pacific issue. Visit the symposium website for a complete list of presenters, abstracts, and schedule of events.
Society for Architectural Historians
The Society of Architectural Historians (SAH) invites CAA members to gather at the Four Seasons in midtown Manhattan next month for conversation about the restaurant’s historical developments. This free event takes place on Saturday, September 25, 2010, at 9:00 PM. The gathering concludes a tour day in which SAH members will have spent studying the work of Richard Kelly, who was responsible for the interior and exterior lighting of the Seagram Building and the Four Seasons. Joining the group will be Belmont Freeman, the restaurant’s current restoration architect, and Dietrich Neumann, the tour leader, past SAH president, and editor of the forthcoming book, The Structure of Light: Richard Kelly and the Illumination of Modern Architecture.
Society for Photographic Education
The Society for Photographic Education (SPE) offers student scholarships to offset the cost of attending its 2011 national conference, titled “Science, Poetry, and the Photographic Image,” to be held March 10–13 in Atlanta, Georgia. A conference fee waiver and a one-year SPE membership are provided in addition to the cash awards.
Ten SPE Awards and the SPE Award for Innovations in Imaging in Honor of Jeannie Pearce feature a $500 travel stipend. The Freestyle Crystal Apple Award for Outstanding Achievement in Black and White Photography is generously sponsored by Freestyle Photographic Supplies and offers a $5,000 cash prize and recognition for the sponsoring faculty member.
Applicants must be SPE student members and current full-time students enrolled at a postsecondary institution as an undergraduate or graduate majoring or concentrating in photography but not graduating before the end of academic year 2010–11. Deadline: November 1, 2010.
Southeastern College Art Conference
From November 9 to 12, 2011, the Southeastern College Art Conference (SECAC) will hold its sixty-seventh annual meeting, hosted by the Savannah College of Art and Design (SCAD) in Georgia. The conference headquarters will be the DeSoto Hilton Hotel, located in the heart of historic Savannah. Featuring extensive panels and sessions for the exchange of ideas and concerns relevant to the practice and study of art, the conference will include the annual awards luncheon and the fourteenth annual members’ exhibition, as well as a rich array of tours, workshops, and evening events. The curator Dan Cameron will jury the SECAC members’ exhibition, to be held at one of SCAD’s premier venues. For more information, contact secac@secollegeart.org or secac2011@scad.edu.
Visual Resources Association
The Visual Resources Association (VRA) 2010 Nancy DeLaurier Award, honoring distinguished achievement in the field of image management, has been given to Murtha Baca and Patricia Harpring for their work on the Getty Vocabulary Program. The program is instrumental to standardizing image cataloging across the cultural-heritage community. Professionals in visual-resources collections, libraries, museums, and archives regularly use three important sources: the Art and Architecture Thesaurus, the Union List of Artist Names, and the Getty Thesaurus of Geographic Names—all developed, sustained, and nurtured, primarily by these two individuals, under the auspices of the Getty Research Institute in Los Angeles, California. Attesting to their ongoing vision of the future is their promotion of a new Cultural Objects Name Authority. The Getty Vocabulary Program not only provides uniform terminology to describe works of art, architecture, material culture, and other associated materials for metadata creation, but it also enhances access to online resources and the knowledge bases on which researchers rely.
New Online Editions of Graduate-Program Directories Coming in Fall 2011
posted by CAA — August 17, 2010
The next editions of CAA’s two directories of graduate programs in the arts will be published in an online format in fall 2011. First printed in December 2008 and January 2009 and still available for purchase, the CAA directories are the most comprehensive source books for graduate education for artists and art scholars, with program information for hundreds of schools, departments, and programs in the United States, Canada, Great Britain, and elsewhere worldwide. Colleges, universities, and independent art schools are all included.
The pricing structure for the 2011 online editions has not yet been determined. Each current volume costs $49.95—$39.95 for CAA members—plus shipping and handling. You may order them online.
Graduate Programs in Art History includes programs in art history and visual studies, museum studies, curatorial studies, arts administration, library science, and related areas. Graduate Programs in the Visual Arts describes programs in studio art, graphic design, digital media, art education, conservation, historic preservation, film production, and more.
For more information, please send an email to directories@collegeart.org.
Committee on Women in the Arts Picks for August 2010
posted by CAA — August 10, 2010
Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship. The following exhibitions and panel discussion should not be missed. Check the CWA Picks archive at the bottom of the page, as several exhibitions listed there are still on view.
August 2010
Hilla Rebay, photographed by Eugene Hutchinson in her Carnegie Hall studio in 1935. Hilla von Rebay Foundation Archive, Solomon R. Guggenheim Museum Archives, New York (photograph by Eugene Hutchinson and provided by the Solomon R. Guggenheim Museum)
Hilla Rebay: Art Educator
Sackler Center for Arts Education
Solomon R. Guggenheim Museum, 1071 Fifth Avenue, New York, NY 10128
January 29–August 22, 2010
Hilla Rebay (1890–1967) was not only an accomplished artist whose work was exhibited across Europe, but she also served as the first director and curator of the Museum of Non-Objective Painting in New York, which then became the Guggenheim Museum. The exhibition Hilla Rebay: Art Educator, fittingly appearing at the museum she once led, highlights her underrecognized role as an innovative art and museum educator. With missionary zeal, Rebay gave talks in the museum and trained her staff on how to interpret the kind of abstract art the museum presented for diverse audiences. On view in the Sackler Center, the Guggenheim’s branch for arts education, are examples and documentation of her approach to pedagogy.
Women Only: Folk Art by Female Hands
American Folk Art Museum
45 West 53rd Street, New York, NY 10019-5401
April 6–September 19, 2010
Curated by Stacey C. Hollander, Women Only: Folk Art by Female Hands “evokes a girls’ club, a parallel and self-contained art world,” according to Karen Rosenberg in the New York Times. The exhibition, culled from the museum’s permanent collection, features painting, drawing, samplers, quilts, and more by American women of the eighteenth and nineteenth centuries. Artists range from anonymous younger women from colonial and revolutionary times, whose creativity prepared them for life in the home, to the portraitist Deborah Goldsmith, one of the few female painters in the 1800s making a living from her art. The subject matter in Women Only is just as diverse, covering ornamentation and commemoration as well as religion and politics.
“3G Summit: The Future of Girls, Gaming and Gender”
Ellen Stone Belic Institute for the Study of Women and Gender in the Arts and Media
Columbia College Chicago, Media Production Center Soundstage, 1600 South State Street, Chicago, IL 60605
August 12, 2010
Columbia College Chicago hosts a public forum on Thursday, August 12, 6:00–8:00 PM, as part of “3G Summit: The Future of Girls, Gaming and Gender,” a four-day program of workshops and discussions that will connect fifty teenage girls from the Chicago area with game designers and scholars for intensive dialogue, inquiry, game play, and mentorship. Moderated by the college’s Janell Baxter and Brendan Riley, this free panel features five women at the forefront of gaming theory and practice. Through talks and conversation, they will address intersections of gender equity, technology, digital platforms, and more. Speakers are: Mary Flanagan: artist, scholar, and author of Critical Play; Tracy Fullerton: game designer (Cloud, flOw, The Night Journey), writer, and educator (University of Southern California); Jennifer Jenson: scholar of gender and technology (York University) and game designer (Epidemic and Tafelmusik); Erin Robinson: game designer (Puzzle Bots, Little Girl in Underland, Nanobots); and Susana Ruiz: media artist and game designer (Darfur is Dying, Finding Zoe).
Empowering Women: Artisan Cooperatives That Transform Communities
Museum of International Folk Art
706 Camino Lejo, Museum Hill, Santa Fe, NM 87504
July 4, 2010–January 2, 2011
Empowering Women: Artisan Cooperatives That Transform Communities, guest curated by Suzanne K. Seriff, is the inaugural exhibition at the Museum of International Folk Art’s Gallery of Conscience. Visitors can examine weaving, beadwork, painting, baskets, embroidery, and other traditional folk arts from artists and artisans living and working in Africa, South America, and South and Southeast Asia. The new Gallery of Conscience, according to the museum director Marsha Bol, is “devoted to the examination of issues that threaten the survival of the traditional arts, bringing them to the attention of our visitors.” Empowering Women appears in conjunction with the three-day Santa Fe International Folk Art Market, which took place last month.
Marlene Park: In Memoriam
posted by CAA — August 03, 2010
Herbert R. Hartel Jr. is adjunct associate professor at John Jay College of Criminal Justice, City University of New York.
Marlene Park (photograph provided by William Park)
Marlene Park, an art historian and professor who specialized in twentieth-century American art and public art, who worked to preserve America’s public art for future generations, and who became an accomplished photographer in her later years, died suddenly on July 10, 2010, at the age of 78.
Park was born in Los Angeles on December 1, 1931. Her father, Warren Shobert, was a lawyer who worked for Paramount Studios. He claimed that he had met Marlene Dietrich on a stage set, and that she asked him to name his child after her, which is how Marlene’s name was apparently chosen. Park graduated from the University of California, Los Angeles, in 1953 with a major in merchandising. Not long after, while working in New York, she took a course at Columbia University that inspired her to pursue graduate study in art history. She received her MA and PhD in art history from Columbia, where she specialized in medieval art and studied with Meyer Schapiro. Her dissertation was a study of the Crucifix of Fernando and Sancha, an ivory sculpture from 1063 that is in the National Archeological Museum in Madrid. In 1958, she married William Park, who later became a professor of English at Sarah Lawrence College, and together they had two children. She was a professor of art history at John Jay College of Criminal Justice, City University of New York (CUNY), from 1968 until 2000, and served on the faculty in the PhD Program in Art History at the CUNY Graduate Center for over twenty years.
Once at John Jay, Park took a path similar to Schapiro as her scholarly efforts shifted from medieval art to American art. A pioneering scholar of 1930s government-supported art and American public art, she coauthored two books with her John Jay colleague Gerald Markowitz: New Deal for Art: The Government Art Projects of the 1930s with Examples from New York City and State (1977) and Democratic Vistas: Post Offices and Public Art in the New Deal (1984). She also wrote numerous essays and articles on New York post-office murals, images of lynching in the 1930s, and artists Blanche Lazzell and Stanton Macdonald-Wright. In the 1980s Park was president of the Public Art Preservation Committee, based in New York. In this capacity, she worked to preserve important examples of public art, including the murals at the Rincon Annex Post Office in San Francisco.
As a member of CUNY’s art-history faculty, Park taught courses on American art of the 1930s, American art between the World Wars, public art in the United States, and American women sculptors. She opened the eyes of many students, introducing them to wonderful but little-known artists who became exciting topics for research papers and dissertations. I was one of many to benefit from this inspiration and guidance, and the list of those who similarly benefited is impossibly long to enumerate. Park cultivated enthusiasm for American modernist art among her students with an uncommon sense of caring and nurturing; she adeptly led them to serious, respected, and useful scholarship. She knew how to encourage and guide her students, to make them scholars while caring about them as people. In turn, her students had the utmost appreciation and regard for her. She embodied the ideal that art history is a humanistic academic endeavor.
Years spent documenting public art across the United States initiated and developed Park’s interest in photography as an art form. Many of her photographs of public art transformed themselves from documentation to artistic statements in their own right, and did so in that quietly thoughtful way that was uniquely Marlene. Upon retiring she and her husband moved to Santa Cruz, where she continued to spend time with her children and grandchildren. Devoting herself to photography, she created beautiful works in which she observed and recorded everyday life, the landscape of northern-central California, wildlife, and mechanical forms. In her seventies she learned the complexities of digital photography. Her photographs have been exhibited at Sarah Lawrence College, the Santa Cruz Art League, and elsewhere, and can be seen at www.marlenepark.com. Park exhibited her work often and acquired an impressive reputation as a serious and talented photographer. She also became very active in the art scene in Santa Cruz. Park’s decade of retirement was a model of how one can be productive and creative in those later years. She proved that although we must get older, we do not have to become stale. On the day she died, she attended the opening of a juried exhibition that included one of her photographs. I think Marlene left us after what was a very good day for her, a day spent doing what she loved, and for that we should be grateful.
Park is survived by her husband William, her children Catharine and William, her stepsons Jonathan and Geoffrey, and nine grandchildren. She will truly be missed by family, friends, colleagues, and former students, but will live on in her family, scholarship, photography, and the new generations of art historians she educated.
Artists Helen Mayer Harrison and Newton Harrison Will Speak at Convocation at the 2011 Centennial Conference
posted by CAA — July 23, 2010
Dear colleagues,
It is with great pleasure that I announce the keynote speakers for Convocation at CAA’s Centennial Conference in New York: the artists Helen Mayer Harrison and Newton Harrison. This event, free and open to the public, will take place in February 2011.
The Harrisons are interdisciplinary, collaborative, multimedia, environmental, educational, activist, visionary, ethical, and humane. They exemplify many aspects of contemporary artistic practice and speak to numerous concerns of the CAA membership.
I first met Newton in the early 1990s: he was a visiting artist when I was a graduate student in Indiana. (I also met Helen years later at a gallery reception in Colorado.) He left a tremendous impression on me as someone with a truly perceptive mind, possessing the foresight, talent, and determination to create visually compelling art on a scale that makes a positive difference in life on our planet. The Harrisons have been doing this for over forty years. His and Helen’s concept of the individual contributing to the elevation of a collective “conversational drift” resonates today more than ever.
For more information on the Harrisons and their work, please visit their website. Other great sources include the New York Art World, Ronald Feldman Gallery, which represents the artists, Left Matrix, and the Community Arts Network, which republishes an essay on the artists by Arlene Raven.
I’d like to thank Sue Gollifer, CAA vice president for Annual Conference, for her thoughtful consultation with me about potential speakers, and Emmanuel Lemakis, CAA director of programs, for his assistance with confirming and making arrangements for our honored guests.
Please join me in welcoming the Harrisons and spreading the word about our good fortune to have them address CAA as keynote speakers for our 2011 Convocation.
Sincerely,
Barbara Nesin, MFA
President, College Art Association
Department Chair of Art Foundations, Art Institute of Atlanta
Batya Tamar Studio at the Arts Exchange
Committee on Women in the Arts Picks for July 2010
posted by CAA — July 10, 2010
Each month, CAA’s Committee on Women in the Arts singles out the best in feminist art and scholarship from North America and around the world. CWA Picks may include exhibitions, conferences, symposia, panels, lectures, and other events. The following selections should not be missed.
July 2010
June Wayne, The Chicago Territory, 1977, from The Dorothy Series (1975–79), lithograph on paper, 20 5/8 x 17 3/8 in. National Museum of Women in the Arts. Gift of the artist (artwork © June Wayne; photograph provided by National Museum of Women in the Arts)
June Wayne’s “Dorothy Series”
National Museum of Women in the Arts
1250 New York Avenue NW, Washington, DC 20005
June 25, 2010–September 13, 2010
The Dorothy Series (1975–79) by June Wayne was created in a hyperrealist style using photographs, documents, and scrapbook memorabilia. The artist created the set of lithographs to narrate the life of her mother, Dorothy, who raised her as a single parent, had a successful sales career, and staunchly campaigned for women’s rights. The Dorothy Series was created in collaboration with Ed Hamilton of Hamilton Press.
Born in 1918 in Chicago, Wayne had her first solo exhibition in 1935. A participant in the Works Progress Administration Easel Project in Chicago, she later moved to California where she studied lithography and founded the Tamarind Lithography Workshop in 1960. The CWA honored Wayne with an Annual Recognition Award in 2002.
Film Exhibition: Sally Potter
Museum of Modern Art
11 West 53rd Street, New York, NY 10019
July 7–21, 2010
In the early 1970s, Sally Potter made avant-garde short films before moving on to experimental dramatic features that incorporate music, literature, dance, theater, and performance. She typically works on multiple elements of her films, from script and direction to sound design, editing, performance, and production. Potter’s films elegantly blend poetry and politics, give voice to women’s stories and romantic liaisons, and explore themes of desire and passion, self-expression, and the role of the individual in society. Films included in the program are her low-budget short, Thriller (1979); her first feature, The Gold Diggers (1983); Potter’s most critically acclaimed film, Orlando (1992); and RAGE (2009), her most recent project.
Jaroslava Brychtovà at the Glass Art Society in Seattle, 1990 (photograph by Russell Johnson and provided by the Pratt Fine Arts Center)
The Brychtovà Forum – Women Artists Working in Glass: Celebrating Innovation and Vision Across Generations
Seattle Art Museum and Pratt Fine Arts Center
1300 First Avenue, Seattle, WA 98101; and 1902 South Main Street, Seattle, WA 98144
July 15–18, 2010
Several prominent organizations from Seattle’s glass art community are collaborating to present “The Brychtovà Forum – Women Artists Working in Glass: Celebrating Innovation and Vision Across Generations,” a four-day series of free lectures, panel discussions, and events to be held July 15–18, 2010. The forum was conceived to celebrate the rich tradition of women working in glass while also recognizing the life and work of one of the most important artists in the history of the glass movement.
Jaroslava Brychtovà’s lecture, the cornerstone of the Brychtovà Forum, will be presented at the Seattle Art Museum on Thursday, July 15, accompanied by a new documentary by the Czech filmmaker Jiri Malek. The lecture will be followed by a reception and special exhibition curated by Sarah Traver opening across the street at the Traver Gallery. Panel discussions organized by three generations of leading glass artists—including Flora Mace, Shelley Muzylowski Allen, and Rebecca Chernow—will be presented at Seattle Art Museum throughout the day on Friday and on Saturday morning, all of which will be free and open to the public on Saturday afternoon. Also on Saturday afternoon, a glassblowing demonstration will take place at the Pratt Fine Arts Center (1902 South Main Street, Seattle, WA 98144; 206-328-2200; info@pratt.org). Admission to forum events is free but seating is limited; tickets will be available on a first-come, first-served basis upon registration.
Marvin Lowe: In Memoriam
posted by CAA — June 15, 2010
Wendy Calman is associate professor and cohead of printmaking at the Henry Radford Hope School of Fine Arts at Indiana University in Bloomington.
Marvin Lowe (photograph provided by Wendy Calman)
Marvin Lowe, an artist, musician, and professor emeritus at Indiana University, died peacefully on April 28, 2010, in Tucson, Arizona. He was 87 years old.
Lowe was born in Brooklyn, New York, on May 19, 1922. He attended Brooklyn Technical High School, studying math and physics while cultivating an early love for music, particularly jazz. Joining the Navy during World War II, he played tenor saxophone in Artie Shaw’s navy band, and in the band on the battleship Arkansas. Home from war, Lowe played with big bands led by Raymond Scott, Woody Herman, and Bobby Sherwood. On tour in St. Louis, he met the Watkins Twins, Juel and June, a professional vaudeville act whose signature performance included dancing on point atop a bass drum. Lowe married Juel on April 1, 1949. Music and dance filled their life together. Their daughter Melissa, born in 1955, became a professional ballerina, and their granddaughter Claire is an accomplished dancer in her own right.
Lowe entered the Juilliard School to study musical composition, then received a BA in English literature from Brooklyn College in 1955, spending his free time visiting art museums. He also began to draw. Performing in nightclubs, Lowe became friends with the iconic artist Larry Rivers, who also played sax. Lowe showed him his drawings, and Rivers was encouraging. Tired of the distractions of life as a jazz musician, Lowe applied to the printmaking program at the University of Iowa, where under the direction of Mauricio Lasansky he spent the next four years developing as an artist. Playing jazz to support his family, Lowe also took a job in the Physics Department, reawakening a childhood interest in astronomy and cosmology, elements that would resurface frequently in his work.
Receiving his MFA in 1960, Lowe taught at Berea College in Kentucky and at Bucknell University in Pennsylvania. At a workshop in Florence, Italy, he met the artist Rudy Pozzatti, and “the rest is history.” Lowe was hired at Indiana University, Bloomington, in 1967, where he and Pozzatti worked together building the IU Printmaking Workshop’s outstanding reputation for teaching and research. Joined by Wendy Calman in 1976, they spent fifteen years creating one of the most successful and highest-ranked printmaking programs in the United States.
Marvin Lowe, Earth, 1995, acrylic and college on paper (artwork © Marvin Lowe; photograph provided by Wendy Calman)
Lowe’s works have been shown in over two hundred national and international exhibitions, and can be found in eighty permanent museum, university, and corporate collections, most notably the British Museum, the Japan Print Association (Tokyo), the Library of Congress, the New York Public Library, the Smithsonian Institution, the Art Institute of Chicago, the Philadelphia Museum of Art, and the Brooklyn Museum. He has had over fifty solo exhibitions and received more than thirty awards, among them a National Endowment for the Arts Artist’s Fellowship and a Ford Foundation grant.
Retired from teaching in 1991, Lowe created an extensive repertoire of works forging new directions. His mixed-media pieces, which include aspects of collage, painting, and printmaking, some over ten feet wide, incorporated figurative elements, astrological charts, and decorative ritual forms. Ideas about science, politics, history, and music resound throughout this period. Lowe continued to live and work in the studio built for him by his family in Tucson, Arizona, where he settled after his wife Juel died in 2002.
Writing about their friend and colleague, Pozzatti and Calman stated, “His most important contributions are the least tangible. His exciting intellect, his energy, his tenacity, his generosity, and his great sense of humor have given those of us fortunate enough to have worked with him a presence that will remain as an inspiration to us all.”
Lowe is survived by his daughter Melissa Lowe Hancock; son-in-law Jory Hancock; granddaughter Claire Elise Hancock; nieces and nephews Geoffrey, Greg, and Cynthia Cortelyou, and Wedge and Kelly Watkins; and extended family. The legacy of his life lives on through them and the many students whose lives he touched.