CAA News Today

CAA joins 22 other organizations in signing on to a statement by the American Historical Association registering concern about a new policy issued by India’s Ministry of Higher Education/Department of Higher Education that “requires Indian scholars and administrators to obtain prior approval from the Ministry of External Affairs if they want to convene online or virtual international conferences, seminars, or trainings.” The AHA states that this policy is likely to “affect a wide range of scholarly exchanges that are critical to the free international expression of ideas” and “strongly maintains that government agencies should not intervene in the content of scholarly exchange.” 

 

AHA Opposes New Policy on Virtual Scholarly Exchanges in India (February 2021) | AHA (historians.org) 

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Meet CAA’s New Board Members

posted by February 22, 2021

From left to right: Lara Evans, Roland Betancourt, Wanda Raimundi-Ortiz, Kelly Walters, and Kelvin Parnell

The results of the 2021 CAA Board of Directors Election were presented at the CAA Annual Business Meeting on Friday, February 12 at 2:00 PM as part of the 109th CAA Annual Conference.

We are grateful to all the candidates who put forward their names for consideration this year. The 2020-21 Nominating Committee selected six candidates for election for four-year terms and two Emerging Professional candidates, who were eligible for a two-year term.⁠ Voters were asked to select four of the six candidates for four-year terms, and one candidate in the Emerging Professional category.

CAA BOARD OF DIRECTORS ELECTION

We congratulate Lara Evans, Roland Betancourt, Wanda Raimundi-Ortiz, and Kelly Walters on their election by CAA membership for four-year terms and Kelvin Parnell on his election for a two-year term as an Emerging Professional board member.

Learn more about the new members:

 

Lara Evans

Interim Director, Research Center for Contemporary Native Arts, Institute of American Indian Arts, Santa Fe, NM

 

Roland Betancourt

Professor of Art History, University of California Irvine, Irvine, CA

 

 

Wanda Raimundi-Ortiz

Associate Professor, Studio Art, University of Central Florida, Orlando, FL

 

Kelly Walters

Associate Director, BFA Communication Design Program, Parsons School of Design, The New School, New York, NY

 

EMERGING PROFESSIONALS BOARD OF DIRECTOR CANDIDATES (TWO-YEAR TERM, 2021-2023)

 

Kelvin Parnell

Ph.D. Candidate, Art and Architectural History, University of Virginia, Charlottesville, VA

 

 

 

The CAA Board of Directors is comprised of professionals in the visual arts who are elected annually by the membership to serve four-year terms (or, in the case of the Emerging Professional Board members, two-year terms). The Board is charged with CAA’s long-term financial stability and strategic direction; it is also the Association’s governing body. The board sets policy regarding all aspects of CAA’s activities, including publishing, the Annual Conference, awards and fellowships, advocacy, and committee procedures. For more information, please read the CAA By-laws on Nominations, Elections, and Appointments.

Thank you to all those who voted!

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CAA offers Annual Conference grants supporting international members, students, emerging scholars, practitioners, and artists. This year, we offered support grants to attend the 109th Annual Conference, February 10-13, 2021, virtually.

ANNUAL CONFERENCE CAA MEMBER SUPPORT GRANTS

CAA has awarded a limited number of grants to international members, students, emerging scholars, practitioners, and artists who are CAA members participating in the conference to support their ability to take part in the Annual Conference.

2021 Annual Conference Support Grantees

  • Kristina Davis
  • Silas E. Fischer
  • Maria Garth
  • Keith D. Lee
  • Mai Yamaguchi
  • Xiaojing Yan

SUPPORT GRANTS FOR ANNUAL CONFERENCE REGISTRATION 

CAA has awarded a limited number of grants to cover Annual Conference Registration for CAA 2021 to members in need. Annual Conference registration grants are supported by funds raised by the Presidents Council of CAA and the “Pay it Forward” initiative.

2021 Annual Conference Registration Support CAA Student Member Grantees:

  • Nicole Cochrane
  • Sophia Maxine Farmer
  • Alexa McCarthy
  • Andrea Morgan
  • Lauren Rosenblum
  • Sheri Michelle Schrader
  • Christine Suzanne Slobogin
  • Mariya Tsaneva

 

2021 Annual Conference Registration Support CAA Member Grantees:

  • Chava Krivchenia
  • Claudia Marion Stemberger
  • Daniela Naomi Molnar
  • Dell Marie Hamilton
  • Hong Zeng
  • Jasmine Graf
  • Roma Madan Soni
  • Silvia Massa
  • Tania Gutierrez-Monroy

 

ROYAL TALENS NORTH AMERICA – CAA CONFERENCE REGISTRATION GRANTS

For more than 100 years, Royal Talens has been stimulating creative expression by developing high-quality brands and products that inspire artists throughout the world. We seek to initiate and support efforts to increase cultural equity and inclusion in the arts community. We would like to announce the newly created Royal Talens CAA Cultural Equity Grant to provide support for studio art educators of color residing in the US or Canada to attend the national conference in 2021.

2021 Royal Talens North America –  CAA Annual Conference Registration Grantees:

  • Massa Lemu, Assistant Prof at Virginia Commonwealth University
  • Lizzy Martinez, Instructor at University of Missouri St. Louis
  • Kirk Maynard, Adjunct Instructor at Drew University, Madison NJ

 

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In Memoriam: Roland Reiss

posted by January 12, 2021

Roland Reiss in front of by Unrepentant Flowers (April 2018), photo by Eric Minh Swenson

We are deeply saddened that Roland Reiss, whose practice spanned Abstract Expressionism, the plastic arts, and representational painting, died on December 13 in Los Angeles at the age of ninety-one.

Jorin Bossen has spoken on the life and career of Roland Reiss:

“Roland saw everything through the lens of art. Even in his last year he produced stacks of drawings each week examining the simple proposition of a circle positioned next to a square. This investigation of thought and possibility extended into the way that he undertook teaching. Teaching was an interactive process—an exchange of ideas. He knew how to point his students in the general direction we needed to be heading. Through new techniques, unfamiliar materials and mediums, seemly-unrelated exercises, and personal chats students often found ourselves in new and unexpected artistic territory. One that we didn’t know existed but filled us with hope, fear, and excitement. For Roland teaching was art.”

Read the Artforum article remembering Roland Reiss.

Filed under: Obituaries, Uncategorized

College Art Association
108th Annual Business Meeting
MINUTES

Hilton Chicago, 720 South Michigan Avenue, Chicago, IL 

Part I: February 12, 2020: Convocation, 6:00PM, Grand Ballroom

Part II: February 14, 2020: 2:00PM, Room 4A 


Part I: February 12, 2020

I. Welcome

David Raizman, Interim Executive Director, welcomed attendees to the Convocation and to the Association’s 108th Annual Business Meeting.

II. Executive Director’s report

Raizman noted that this year’s Annual Conference has approximately 375 ninety-minute sessions.

This year, in collaboration with the Committee on Women in the Arts, the conference offers a selection of sessions, papers, speakers, and related programming in celebration of the Centennial of Women’s Suffrage in the US. Approximately 50% of the conference’s content is focused on women-centered research, artistic presentations, and discourse.  Also, as of this year, the conference program is available only in a variety of digital formats, including the conference app and a downloadable pdf file.

President Jim Hopfensperger was not in attendance, and President-Elect N. Elizabeth Schlatter was ill and could not attend the conference.

III. Awards for Achievement

The awards for achievement were presented by former Presidents: Suzanne Blier, DeWitt Godfrey, Anne Goodyear.  The 2020 Professional Development Fellowships in Art History and Visual Art were presented by Raizman.

IV. Keynote address

Raizman introduced Amanda Williams, visual artist and architect, who presented the keynote address.

 


Part II: February 14, 2020

V. Call to Order

Raizman called the meeting to order.

VI. Approval of Minutes

Raizman asked for a motion to approve the minutes of the meeting held on February 13 and 15, 2019. Cunard made the motion, seconded by Blakely.  Motion was approved.

VII. Financial Report

Robert Tofolo, Chief Financial Officer, presented the financial report for the Association for the year ending June 30, 2019. The Association posted an operating deficit of $-167,000, versus a forecasted deficit of $-189,000 and against it original budget of $57,000.  The Association continues to work to budget expenses within projected revenue targets. Revenue totaled $3,523,000 against expenses of $3,690,000.

As of June 30, 2019, there were 7,773 (8,435, -8%) individual members. There were 464 (461) organizational members and an additional 617 (651, -5%) subscribers to The Art Bulletin and/or Art Journal through the Association’s co-publisher Taylor and Francis.

The market value of the investment portfolio as of June 30, 2019 was $9,609,945 versus the prior year balance of $9,514,314.

Copies of the audited financial statements for fiscal year 2019 are available and they will be posted as a PDF on the Association’s website.

The Executive Director search is ongoing, conducted by the search committee comprising  Directors and staff members.

The number of attendees at this Annual Conference stands at 3,300 as of this afternoon.

VIII. Election of Board Members

Julia Sienkewicz, Vice President for Committees, presented the results of the elections of new members to the Board.  The following four members were elected to the Board by the membership to serve a four-year term starting in May 2020:

  • Mora Beauchamp-Byrd
  • Scherezade Garcia-Vazquez
  • Tiffany Holmes
  • Nada Shabout

The following member was elected to the Board as an Emerging Professional Director to serve a two-year term starting in May 2020:

  • Lara Ayad

IX. Old Business

Raizman called for old business. There was none.

X. New Business

Raizman called for new business. There was none.

XI. Adjournment

Raizman adjourned the meeting.

 

 

 

 

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This is Part II of an article that began last week in CAA News. It continues the coverage of life and work at the Asia Art Archive during the COVID-19 pandemic.

Mutual AidCici Wu, Research Assistant, Asia Art Archive, New York 

New York declared a state of emergency on March 7, 2020. I couldn’t foresee then that this would be my last chance to be in an art museum for many months. I was looking at the Portrait of America by Diego Rivera in the Whitney Museum, which he painted in 1933 for the Communist New Workers School in New York. The text panel said, “In keeping with the politics of the school, Rivera chose not to celebrate American values but instead to highlight uncomfortable truths about the class struggle and the country’s violence against African Americans.” In 1929, the crash of the US stock market caused many to question a capitalist system that seemed no longer compatible with the country’s democratic ideals. Artists resolved to use their art to effect change. Looking back at this period in history, when Mexican muralists were invited to make artworks by the State, it’s striking how artists were allowed to use their creativity and imagination so freely. They also imbued their art with a social role by depicting the real struggle of workers. It was uplifting.   

A month before March 7, a memorial gathering for the Chinese doctor Li Wenliang was quietly held in Central Park (Fig. 1). The event was organized to stand against the further erosion of free speech in Mainland China. The park was not crowded. People were dispersed into smaller groups on a sunny afternoon, with murmurs, sighs, and tears. The flowers and banners carried words from the bottom of people’s hearts. At that moment, there was a hope that a little change could happen this time. 

Figure 1. Memorial for Li Wenliang, Sheep Meadow in Central Park, New York, February 9th, 2020. Photo provided by the author.  

After March 7, events seemed to accelerate, further unveiling lies, alongside vulnerability, rage and confusion. A wound was suddenly ripped open, resulting in a flowing river of blood. Sad news stories kept coming, one after another, from Italy, Iran, the UK, the Philippines, and the rest of the world. Airlines were collapsing. Small businesses were at risk. Middle-class and working-class people started worrying about their future. All of a sudden, restaurant workers, airline employees, and gig workers were on the verge of being laid off. Immigrants and undocumented residents without families were most at risk. More than ever, we learned that our social welfare was deeply tied to our immigration status in this country. We wondered, how are we going to collectively survive other crises, such as the huge environmental shifts and resulting displacements, that will come in the future? 

Figure 2. A mutual aid poster on display at 172 Henry Street in Chinatown, New York, April 25th, 2020. Photo provided by the author.

 

For a short time, New York became a site of discombobulation, isolation, and helplessness. The city was pale and empty. Workers in the arts, who were lucky enough to keep their jobs, started to work from home. Essential workers, including doctors, nurses, delivery drivers, and home caretakers, were getting off from work shattered. After a period of panic, some artists started to break out of their isolation and regather in small volunteer communities, helping food pantries, protesting against evictions, and organizing mask donations, all built upon the principle of Mutual Aid Community Agreements: “We Keep Us Safe” (Fig. 2). 

The city began returning, bursting with idealistic energy. Most precious for the Asia Art Archive in America during this time has been the support and care we have been able to provide for each other. Invaluable weekly virtual meetings helped us stay connected and in dialogue, discussing together our changing thoughts throughout this critical time.  

Our research collection, the Joan Lebold Cohen Archive Phase II was successfully launched online in the height of lockdown, on April 1. Three years after the launch of Phase I, the trips Joan Cohen took to China from the 1970s–2000s are finally fully available to explore and learn from: 16,453 color photographs of artists, artworks, studios, academies, exhibitions and scenes of everyday life. These images of a past world travelled through the years and arrived at a moment when nations are drifting apart towards isolation. In the midst of reimagining a new spatiotemporal organization of the world, the looks, smiles, and gestures Joan captured on film brought to mind air and light (Fig. 3). 

 

Figure 3. Students in art and design class at Guangzhou Art Academy, Guangzhou, China, 1980. Photo: Joan Lebold Cohen Archive, Asia Art Archive, NY

In Beijing and Hong Kong before returning to New York in February, I was saddened to have witnessed the virus hitting the collective body multiple times. Working through the Joan Lebold Cohen Archive was a healing process, to imagine myself traveling in time and giving light to the gaps of multiple pasts. I want to end here with a quote from the essay Solidarity/Susceptibility by Judith Butler (Social Text, 2018), from her remarks on José Muñoz, the Cuban American scholar of performance and queer studies who died in 2013, as an inspiration to think about archives and the new imaginary: “The potentialities that appear as rips and tears in the otherwise seamless future of no future for those abandoned by progress are immanent and furtive possibilities within the present, indicating that this time is also another time, and always has been; it opens toward a past and a future even when, politically, the force of oblivion seeks to cover over those very openings.” 


Erasures and Experiments: The COVID-19 Story in India, Noopur Desai, Researcher, Asia Art Archive, India 

Today, we are experiencing an unprecedented moment as we brave the COVID-19 crisis across the world. In India, the situation is complex, similar to many parts of the world, bearing multiple strands, with implications for various aspects of our lives. When the pandemic hit India in March of this year, though early cases were found in January, the country was going through a massive political movement demanding democratic constitutional rights. The announcement of a sudden lockdown across the country on March 22 resulted in the suspension of all social gatherings including, most importantly, the ongoing nationwide sit-in protests against the Citizenship Amendment Act and the National Register of Citizens in various cities and towns. 

Figure 1. Graffiti and artworks at protest sites, removed by the police during the lockdown, “The Logical Indian,” March 27, 2020. Photo: Hindustan Times

In the midst of panic and uncertainty in conjunction with the mismanagement of the crisis, the previous two months began to appear a distant past with the erasure of politics and the transformation of public space during the lockdown. In effect, the public space was rather transformed, with images of a mass exodus as hundreds of thousands of migrant workers journeyed home from big cities after the closing down of markets, manufacturing units, and various laborer jobs. Combined with a sense of amnesia brought on by the spectacle surrounding the pandemic, the government actions (mis)used the situation to crackdown on dissenting voices, either by arresting social and political activists, defacing artworks and graffiti at protest sites (Fig. 1),  or by exercising certain restrictions on media. Taken together these actions have highlighted the systemic inequality and repressive nature of the current regime. 

Surrounded by this grave situation, various arts organizations, artists, and museums have had to reconfigure themselves. Several exhibitions and programs were canceled or postponed, and young arts practitioners moved back to their birthplaces or are struggling to survive in metropolitan centers like Delhi or Mumbai. Responding to the severity of the crisis, many arts practitioners and arts organizations have stepped up to create support systems, including  grants for young artists, online displays of artworks, and the formation of chain-systems, wherein artists buy each other’s work. The arts community also created online auctions and other fundraising events to contribute to the relief work for migrant workers and other vulnerable populations. 

Figure 2. Migrant workers walk in front of a coronavirus graffiti in Mumbai, May 14, 2020. Photo: The Hindu

Physical distancing quickly resulted in digital proximity with the arrival of webinars and online exhibitions organized by museums and galleries, although the graph of the webinars seems to be “flattening” in recent times! However, the digital world has become an intrinsic part of our lives, whether it is through virtual studio visits, webinars, and simulated gallery tours or by creating online resources for teaching and learning. In terms of art education, studio-based practice has been replaced by experimentation with the digital, though only at a few schools, as most of them do not have the resources to run online programs.  Nevertheless, there have been important instances where students have used digital platforms to organize their annual exhibitions, which are required for graduation, and which for the most part have not been able to take place physically. Though physical space is crucial in contemporary art practice, this intense effort to use alternative platforms has certainly paved the way for forming new aesthetic possibilities. 

While we all are grappling with this strange time, at Asia Art Archive in India we continue building our online research collections and shaping new projects. As an online platform, we have been able to continue several aspects of our work by sharing digital resources and programming via our website. Despite this, we have also faced challenges in light of changing situations. Though our collections are available online, the groundwork to build those collections requires in-person visits to archives and libraries, access to review personal archives, resources to digitize the documents, and programs to introduce the archival collections; most of these activities have been brought to a halt for now. In the meantime, we are maintaining our spirits by planning and carrying out whatever aspects of our work we can, keeping in mind the need for physical distancing. At the same we are recalibrating our working methods as we venture into the “new normal.” 

Filed under: International, Uncategorized

New in caa.reviews

posted by January 11, 2019

Jordan Bear reviews Inadvertent Images: A History of Photographic Apparitions by Peter Geimer. Read the full review at caa.reviews.

Nina Athanassoglou-Kallmyer writes about Exiled in Modernity: Delacroix, Civilization, and Barbarism by David O’Brien. Read the full review at caa.reviews.

Filed under: caa.reviews, Uncategorized

Institutional News

posted by August 22, 2017

Read about the latest news from CAA’s institutional members.

Institutional News is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.

August 2017

The Archives of American Art, part of the Smithsonian Institution in Washington, DC, has launched a new online guide to archival collections in the Chicago area that are related to American art. A $413,000 grant from the Terra Foundation for American Art supported a comprehensive survey of art-related archives in more than seventy-five Chicago-area institutions.

Storm King Art Center in New Windsor, New York, has received a 2017 Artistic Production Grant from the VIA Art Fund for Heather Hart’s The Oracle of Lacuna.

The Walker Art Center in Minneapolis, Minnesota, has received a 2017 Artistic Production Grant from the VIA Art Fund for Daniel Buren’s Viole/Toile – Toile/Viole.

The Yale Center for British Art in New Haven, Connecticut, and the Paul Mellon Centre for Studies in British Art have won a gold-level MUSE Award from the American Alliance of Museums for their jointly published, open-access digital journal. Part of the MUSE Open Culture category, the award recognizes British Art Studies for its high standards of excellence in the use of media and technology for Gallery, Library, Archive, and Museum programs.

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Grants, Awards, and Honors

posted by August 18, 2017

CAA recognizes its members for their professional achievements, be it a grant, fellowship, residency, book prize, honorary degree, or related award.

Grants, Awards, and Honors is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.

August 2017

Anila Quayyum Agha, associate professor in the Herron School of Art and Design at Indiana University Purdue University Indianapolis, has won the Schiele Prize from the Cincinnati Art Museum in Ohio.

Michelle Moore Apotsos, assistant professor in the Art Department at Williams College in Williamstown, Massachusetts, has won a research grant from the Graham Foundation. She will use the funds for “Selling South Africa: Architecture, Tourism, and Identity in the Post-Apartheid Era.”

Natalie Beall, an artist based in Salt Point, New York, has won a 2017 fellowship from the New York Foundation for the Arts in the printmaking/drawing/book arts category.

Jetshri Bhadviya, a recent MFA graduate from the Cranbrook Academy of Art in Bloomfield Hills, Michigan, has received a 2017–18 Post-Graduate Teaching Fellowship from the Association of Independent Colleges of Art and Design. She will be placed at College for Creative Studies in Detroit.

Susanneh Bieber, assistant professor in the Departments of Visualization and Architecture at Texas A&M University in College Station, has been awarded the 2017 Terra Foundation for American Art International Essay Prize by the Smithsonian American Art Museum in Washington, DC. Her winning essay, “Going Back to Kansas City: The Origins of Judd’s Minimal Art,” will be published in a forthcoming issue of the journal American Art.

Angela Fraleigh, an artist based in New York and Allentown, Pennsylvania, has received studio space in Brooklyn through the 2017 Sharpe-Walentas Studio Program.

Amir Hariri, an artist based in Brooklyn, New York, has received a 2017 fellowship from the New York Foundation for the Arts in the category for printmaking, drawing, and book arts.

Valerie Hegarty, an artist based in Brooklyn, New York, has won a 2017 fellowship in crafts/sculpture from the New York Foundation for the Arts.

Stacy C. Hollander, deputy director for curatorial affairs, chief curator, and director of exhibitions for the American Folk Art Museum in New York, has won two 2017 Awards for Excellence from the Association of Art Museum Curators. One award is for her exhibition, Securing the Shadow: Posthumous Portraiture in America; the other is for her catalogue essay, “Securing the Shadow: Posthumous Portraiture in America.”

Melissa Huddleston, an artist and assistant conservator at the Getty Research Institute in Los Angeles, has completed an artist’s residency at the Sam and Adele Golden Foundation for the Arts, based in New Berlin, New York.

Sarah Hwang, an art director and designer based in San Leandro, California, has earned the 2017 Art Publishing Residency, awarded by three online publications: Daily Serving, Art Practical, and c3:intiative.

Jennifer Karady, an artist based in Brooklyn, New York, has received a 2017 fellowship in the visual arts from the MacDowell Colony, based in Peterborough, New Hampshire. Karady has also received Art Omi’s Francis Greenburger Fellowship for Mitigating Ethnic and Religious Conflict, which included an artist’s residency in Ghent, New York.

Bahareh Khoshooee, who recently earned an MFA in studio art from the University of South Florida in Tampa, has been appointed an MFA Resident Artist for summer 2017 at the Ox-Bow School of Art and Artists’ Residency in Saugatuck, Michigan.

Sharon Louden, an artist and the editor of The Artist as Cultural Producer, has received studio space in the 2017 Sharpe-Walentas Studio Program, based in Brooklyn, New York.

Forrest McGill, Wattis Senior Curator of South and Southeast Asian Art for the Asian Art Museum of San Francisco in California, has won a 2017 Award for Excellence from the Association of Art Museum Curators for his exhibition catalogue, The Rama Epic: Hero, Heroine, Ally, Foe.

 

Helina Metaferia, a 2015–17 AICAD Post-Graduate Teaching Fellow at the San Francisco Art Institute in California, has been appointed to the 2017 Arts Faculty this summer at the Ox-Bow School of Art and Artists’ Residency in Saugatuck, Michigan

Itohan I. Osayimwese, assistant professor of history of art and architecture at Brown University in Providence, Rhode Island, has won a grant from the Graham Foundation in the publications category. Her project is editing “‘African Building Types: An Architectural-Ethnographic Study’ and Other Essays by Hermann Frobenius.”

Jim Osman, an artist based in Brooklyn, New York, has received a 2017 fellowship in the category for crafts and sculpture from the New York Foundation for the Arts.

Corinna Ray, who recently completed an MFA at the University of Tennessee in Knoxville, has been appointed an MFA Resident Artist for summer 2017 at the Ox-Bow School of Art and Artists’ Residency in Saugatuck, Michigan.

Adam Liam Rose, who earlier this year received an MFA in sculpture from Columbia University in New York, has become an MFA Resident Artist for summer 2017 at the Ox-Bow School of Art and Artists’ Residency in Saugatuck, Michigan.

Felicity D. Scott, director of the PhD Program in Architecture (History and Theory) and codirector of the program in Critical, Curatorial, and Conceptual Practices in Architecture at Columbia University’s Graduate School of Architecture, Planning, and Preservation in New York, has won a research grant from the Graham Foundation. She will work on “Vann Molyvann and the Absent Archives of Cambodian Modernism” with Branden W. Joseph and Mark Wasiuta.

Makia Sharp, who earlier this year earned an MFA in sculpture from the Rhode Island School of Design in Providence, has won a 2017–18 Post-Graduate Teaching Fellowship. The Association of Independent Colleges of Art and Design will place her at California College of the Arts in San Francisco and Oakland.

Emily Silver, an artist based in Ferndale, California, and a faculty member at the College of the Redwoods in Eureka, has completed a residency at PLAYA at Summer Lake in Summer Lake, Oregon.

Irene V. Small, assistant professor in the Department of Art and Archaeology at Princeton University in Princeton, New Jersey, has won a research grant from the Graham Foundation. Her project is titled “The Organic Line and the Ends of Modernism.

Linda Stein, an artist based in New York, has been recognized as Artist of the Year by the New York City Art Teachers Association and the United Federation of Teachers.

Despina Stratigakos, professor of architecture at the University at Buffalo in Buffalo, New York, has won a research grant from the Graham Foundation. Her project is titled “Hitler’s Northern Dream: Building an Empire in Occupied Norway.”

Dannielle Tegeder, an artist based in New York, has accepted a 2017 fellowship in printmaking, drawing, and book arts category from the New York Foundation for the Arts.

Penelope Umbrico, an artist and faculty member at the School of Visual Arts in New York, has been selected to receive studio space in Brooklyn through the 2017 Sharpe-Walentas Studio Program.

Kristina Wilson, associate professor of art history at Clark University in Worcester, Massachusetts, has received a 2017 Award for Excellence from the Association of Art Museum Curators for her exhibition Cyanotypes: Photography’s Blue Period, organized with Nancy Kathryn Burns.

Mabel O. Wilson, associate professor for the Graduate School of Architecture, Planning, and Preservation at Columbia University in New York, has won a grant for publications from the Graham Foundation. She and her fellow editors, Irene Cheng and Charles L. Davis II, will work on a book project called “Race and Modern Architecture.”

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People in the News

posted by August 17, 2017

People in the News lists new hires, positions, and promotions in three sections: Academe, Museums and Galleries, and Organizations and Publications.

The section is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.

August 2017

Academe

Nika Elder has become assistant professor in the Department of Art at American University in Washington, DC.

Amy Freund has received tenure and been promoted to associate professor in the Meadows School of the Arts at Southern Methodist University in Dallas, Texas.

Paul B. Jaskot, formerly professor of the history of art and architecture and director of Studio χ at DePaul University in Chicago, Illinois, has been appointed professor of art history and director of Wired! Lab at Duke University in Durham, North Carolina.

Jenni Sorkin has received tenure in the History of Art and Architecture Department at the University of California, Santa Barbara. She became associate professor on July 1, 2017.

May Sun, an artist and former lecturer at Otis College of Art and Design in Los Angeles, California, has become a 2017–18 artist in residence at the Rinehart School of Sculpture at Maryland Institute College of Art in Baltimore.

Rebecca Uchill has left the Massachusetts Institute of Technology in Cambridge for a position at the University of Massachusetts, Dartmouth.

Lisa Young has resigned from her position in the College of Art and Design at Lesley University in Cambridge, Massachusetts.

Museums and Galleries

William J. Chiego has become director emeritus for the McNay Art Museum in San Antonio, Texas, to acknowledge his twenty-five years of service.

Elizabeth Chodos, formerly executive and creative director of Oxbow in Saugatuck, Michigan, has been appointed director of the Regina Gouger Miller Gallery at Carnegie Mellon University in Pittsburgh, Pennsylvania.

Erin B. Coe, director of the Hyde Collection in Glen Falls, New York, has accepted the directorship of the Palmer Museum of Art at Pennsylvania State University in State College.

William L. Coleman, formerly NEH Post-Doctoral Fellow at the Library Company of Philadelphia in Pennsylvania, has been named associate curator of American art at the Newark Museum in Newark, New Jersey.

Alexa Greist, previously at the Yale University Art Gallery in New Haven, Connecticut, has been named assistant curator of prints and drawings for the Art Gallery of Ontario in Toronto.

Tarah Hogue, formerly curator at Grunt Gallery in Vancouver, British Columbia, has become the first senior curatorial fellow at the Vancouver Art Gallery.

Wanda Nanibush has been named assistant curator of Canadian and indigenous art for the Art Gallery of Ontario in Toronto.

Christina Olsen, previously director of the Williams College Museum of Art in Williamstown, Massachusetts, has been appointed director of the University of Michigan Museum of Art in Ann Arbor.

Sylvie Patry has joined the Musée d’Orsay in Paris, France, as deputy director for curatorial affairs and collections. Previously she was deputy director for collections and exhibitions and Gund Family Chief Curator for the Barnes Foundation in Philadelphia, Pennsylvania.

H. Alexander Rich, assistant professor of art history and director of the Melvin and Burks Galleries at Florida Southern College in Lakeland, has also been named curator and director of galleries and exhibitions for the Polk Museum of Art at his school.

Tina Rivers Ryan, formerly curatorial assistant in the Department of Modern and Contemporary Art at the Metropolitan Museum of Art in New York, has become assistant curator at the Albright-Knox Art Gallery in Buffalo, New York.

Stephanie Sparling Williams, previously John Walsh Fellow at the Yale University Art Gallery in New Haven, Connecticut, has joined the Addison Gallery of American Art at Phillips Academy in Andover, Massachusetts, as assistant curator and visiting scholar.

Daniel H. Weiss, president and chief operating officer of the Metropolitan Museum of Art in New York, has been chosen to lead his institution as chief executive officer.

Cole Woodcox has been appointed director of the Council of Public Liberal Arts Colleges, a consortium of thirty North American universities based in Asheville, North Carolina.

Organizations and Publications

Jo-Anne Birnie Danzker, previously director of the Frye Art Museum in Seattle, Washington, has been appointed director and chief executive officer of the Biennale of Sydney in Australia.

Gilberto Cárdenas, executive director of the Notre Dame Center for Arts and Culture in South Bend, Indiana, has joined the board of trustees for the Smithsonian Institution’s Archives of American Art, based in Washington, DC.

John Davis, previously Alice Pratt Brown Professor of Art at Smith College in Northampton, Massachusetts, and executive director of the Terra Foundation for American Art’s Global Academic Programs and Terra Foundation Europe, has been appointed under secretary for museums and research/provost at the Smithsonian Institution in Washington, DC.

Thomas W. Gaehtgens, director of the Getty Research Institute in Los Angeles, has decided to retire in spring 2018.

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