CAA News Today
Grants, Awards, and Honors
posted by CAA — August 15, 2012
CAA recognizes its members for their professional achievements, be it a grant, fellowship, residency, book prize, honorary degree, or related award.
Grants, Awards, and Honors is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
August 2012
Hartmut Austen, a painter, has been appointed Grant Wood Fellow in Painting and Drawing at the School of Art and Art History at the University of Iowa in Iowa City for academic year 2012–13. The fellowship comes with the faculty rank of visiting assistant professor; studio space is provided for independent work.
Lacey Baradel, a doctoral candidate in art history at the University of Pennsylvania in Philadelphia, has been awarded a Henry Luce Foundation/American Council of Learned Societies Dissertation Fellowship in American Art. Baradel’s dissertation is titled “Mobile Americans: Locomotion and Identity in US Visual Culture, ca. 1860–1915.”
Julia Whitney Barnes, in collaboration with members of the Sirovich Senior Center, view of one section of Refracted Nature, 2012, mixed-media mosaic (artwork © Julia Whitney Barnes)Julia Whitney Barnes, an artist based in Brooklyn, New York, received a commission to design and install a permanent public mosaic at the Sirovich Senior Center in Manhattan’s East Village, where she had been an artist in residence. With support from the Lower Manhattan Cultural Council and the New York City Department of Cultural Affairs, Barnes unveiled the mosaic in June 2012.
Phillip Bloom, a PhD candidate in the Department of History of Art and Architecture at Harvard University in Cambridge, Massachusetts, had been granted a Mellon Foundation/American Council of Learned Societies Dissertation Completion Fellowship for “Descent of the Deities: Early Icons of the Water-Land Ritual and the Transformation of the Visual Culture of Song (960–1279) Religion.”
Caetlynn Booth (photograph by J Somers Photography, LLC)Caetlynn Booth, an American artist living and working in Berlin, Germany, has been awarded a DAAD Fellowship for 2012–13 and a grant from the John Hanson Kittredge Fund for her current painting and research project, “The Work of Adam Elsheimer and the Spiritual Power of Painting,” which she began as a Fulbright fellow in 2011.
Katherine Colin, a painter and an MFA student at the University of Dallas in Texas, has won a 2012 Arch and Anne Giles Kimbrough Fund Award from the Dallas Museum of Art. Open to residents of Texas under the age of thirty, the Kimbrough fund was established in 1980 to recognize exceptional talent and potential in young visual artists who show a commitment to continuing their artistic endeavors.
Jess Riva Cooper, a sculptor from Toronto, Canada, has been awarded a scholarship for a summer residency at the Archie Bray Foundation in Helena, Montana. Cooper’s residency will be funded by a Windgate Scholarship, which provides a $700 grant for each recipient.
Andrew Eschelbacher, a doctoral candidate in art history in the Department of Art History and Archaeology at the University of Maryland in College Park, has received a Mellon Foundation/American Council of Learned Societies Dissertation Completion Fellowship for his dissertation, “Labor in the Cauldron of Progress: Jules Dalou, the Inconstant Worker, and Paris’s Memorial Landscape.”
Andrew Gilliatt, a ceramicist, has received the Speyer Fellowship from the Archie Bray Foundation in Helena, Montana. The fellowship comprises a $5,000 award and a one-year residency at the foundation to pursue independent work.
View of Cill Rialaig Artist’s Village in IrelandHeather Ryan Kelley, professor of art at McNeese State University in Lake Charles, Louisiana, has been awarded a residency at the Cill Rialaig Project in County Kerry, Ireland. She will work on a series of prints, artist books, and collages based on James Joyce’s Finnegans Wake.
Miriam Kienle, a doctoral candidate in art history in the School of Art and Design at the University of Illinois in Urbana-Champaign, has received a Henry Luce Foundation/American Council of Learned Societies Dissertation Fellowship in American Art. Kienle’s dissertation is titled “Community at a Distance: The Networked Art of Ray Johnson.”
Debbie Kupinsky, a ceramicist and sculptor from Appleton, Wisconsin, has been awarded a Windgate Scholarship of $700 to attend a summer residency at the Archie Bray Foundation in Helena, Montana.
Matthew Levy, a PhD candidate at the Institute of Fine Arts, New York University, has accepted a Henry Luce Foundation/American Council of Learned Societies Dissertation Fellowship in American Art. Levy is working on a dissertation, “Abstract Painting after the Minimalist Critiques: Robert Mangold, David Novros, Jo Baer,” that examines the practice of three painters.
Emily Liebert, a doctoral candidate in the Department of Art History and Archeology at Columbia University in New York, has been awarded a Henry Luce Foundation/American Council of Learned Societies Dissertation Fellowship in American Art for “Roles Recast: Eleanor Antin and the 1970s.”
Joseph Madura, a doctoral student in the Art History Department at Emory University in Atlanta, Georgia, has earned a Henry Luce Foundation/American Council of Learned Societies Dissertation Fellowship in American Art for his research project, “Minimal Art in the AIDS Crises: 1984–1998.”
Christopher Oliver, a PhD candidate in the McIntire Department of Art at the University of Virginia in Charlottesville, has earned a Henry Luce Foundation/American Council of Learned Societies Dissertation Fellowship in American Art. Oliver’s dissertation is titled “Civic Visions: The Panorama and Popular Amusement in American Art and Society, 1845–1870.”
Mike Osbourne, an artist based in Austin, Texas, whose work examines the intersection of technology, urbanism, and the landscape, has earned a 2012 Otis and Velma Dozier Travel Grant from the Dallas Museum of Art. Osborne will travel to the Brazil and Peru to conduct research for a photography and video project that will address how the mythologized Amazonian landscape collides with the forces of modernity.
Julie Anne Plax, professor of art history at the University of Tucson in Arizona, has earned a 2012–13 John H. Daniels Fellowship from the National Sporting Library and Museum, based in Middleburg, Virginia. During her scholar in residence, Plax will work on a book project called “J. B. Oudry’s Tapestry Series Les Chasses Royales, the Chasse à Courre, and Royal Identity.”
Lisa Pon, associate professor of art history at Southern Methodist University in Dallas, Texas, has received an American Council of Learned Societies Fellowship for her project, “Venice and the Early Modern Plague.”
Austin Porter, a doctoral candidate in the Department of History of Art and Architecture at Boston University in Massachusetts, has been awarded a Henry Luce Foundation/American Council of Learned Societies Dissertation Fellowship in American Art for his research project, “Paper Bullets: The Visual Culture of American World War II Print Propaganda.”
Britt Ragsdale, an artist based in Houston, Texas, has been awarded an Individual Artist Grant from the Houston Arts Alliance. The competitive grant program supports local artists working in a range of media and promotes the city as a magnet for cultural tourism.
Alice Y. Tseng, an associate professor of art history and chair of the Department of History of Art and Architecture at Boston University in Massachusetts, has been granted an American Council of Learned Societies Fellowship for her project, titled “Conspicuous Construction: New Monuments to Imperial Lineage in Modern Kyoto.”
Murtaza Vali, a freelance art critic and curator, has been named guest curator of the fifth edition of the Abraaj Capitol Art Prize. Vali joins the committee that will select the five winning artists; he will also assist the artists in completing their projects, to be exhibited at Art Dubai in March 2013.
Sandra Zalman, an assistant professor of art history at the University of Houston in Texas, has been granted an American Council of Learned Societies Fellowship for her project, “Surrealism and its Afterlife in American Art 1936–1986,” which examines the far-reaching influence Surrealism had on mass culture in the United States.
Exhibitions Curated by CAA Members
posted by CAA — August 15, 2012
Check out details on recent shows organized by CAA members who are also curators.
Exhibitions Curated by CAA Members is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
August 2012
Installation view of Post-Industrial Complex (photograph by Corine Vermeulen)Katie Grace McGowan and Jon Brumit. Post-Industrial Complex. Museum of Contemporary Art Detroit, Detroit, Michigan, May 11–July 29, 2012.
Matthew Palczynski. Haunting Narratives: Detours from Philadelphia Realism, 1935 to the Present. Woodmere Art Museum, Philadelphia, Pennsylvania, May 12–July 15, 2012.
Matthew Palczynski. Salvatore Pinto: A Retrospective Celebrating the Barnes Legacy. Woodmere Art Museum, Philadelphia, Pennsylvania, May 12–July 15, 2012.
Kyoung eun Kang, video still from Islands, 2009 (artwork © Kyoung eun Kang)Jennifer Wilkinson. Bivalence: Working Space 12. Cuchifritos, Essex Street Market, New York, July 12–August 12, 2012.
Books Published by CAA Members
posted by CAA — August 15, 2012
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.
August 2012
Irina Aristarkhova. Hospitality of the Matrix: Philosophy, Biomedicine, and Culture (New York: Columbia University Press, 2012).
Helene Aylon. Whatever Is Contained Must Be Released: My Jewish Orthodox Girlhood, My Life as a Feminist Artist (New York: Feminist Press, 2012).
Paul Catanese and Angela Geary. Post-Digital Printmaking: CNC, Traditional, and Hybrid Processes (London: A&C Black, 2012).
Sharon Lee Hart. Sanctuary: Portraits of Rescued Farm Animals (Milan, Italy: Charta, 2012).
Elaine O’Brien, Everlyn Nicodemus, Melissa Chiu, Benjamin Genocchio, Roberto Tejada, and Mary C. Coffey, eds. Modern Art in Africa, Asia, and Latin America: An Introduction to Global Modernisms (Oxford, UK: Wiley-Blackwell, 2012).
Conrad Ross. Perceptual Drawing: A Handbook for the Practitioner (Lewiston, NY: Edwin Mellen Press, 2011).
Carolyn E. Tate. Reconsidering Olmec Visual Culture: The Unborn, Women, and Creation (Austin: University of Texas Press, 2012).
Committee on Women in the Arts Picks for August 2012
posted by CAA — August 10, 2012
Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship. The following exhibitions and events should not be missed. Check the archive of CWA Picks at the bottom of the page, as several museum and gallery shows listed in previous months may still be on view or touring.
August 2012
Rineke Dijkstra, Self Portrait, Marnixbad, Amsterdam, Netherlands, June 19, 1991, 1991, chromogenic print, 35 x 28 cm (artwork © Rineke Dijkstra; photograph provided by the artist, Marian Goodman Gallery, New York and Paris, and the Solomon R. Guggenheim Museum)
Rineke Dijkstra: A Retrospective
Solomon R. Guggenheim Museum
1071 Fifth Avenue, New York, NY 10128
June 29–October 8, 2012
It has been a great year for female photographers exhibiting in New York museums: Cindy Sherman at the Museum of Modern Art, Francesca Woodman at the Guggenheim, and now the Dutch photographer Rineke Dijkstra, who has a midcareer survey at the Guggenheim. Active since the early 1990s, Dijkstra works in video and large-format color photography, addressing a diverse range of subjects, from adolescents in Poland, Ukraine, and the United States to new recruits to the Israeli army, juxtaposed in their civilian dress and soldier gear.
Feminist Genealogies in Spanish Art: 1960–2010
MUSAC: Museo de Arte Contemporáneo de Castilla y León
Avenida de los Reyes Leoneses 24, León, Spain 24008
June 23, 2012–January 6, 2013
Curated by Juan Vicente Aliaga and Patricia Mayayo, this exhibition investigates the underrecognized role that feminist activism and theory has played in Spanish art since the 1960s. Showcasing the work of seventy-seven artists (individuals and artist collectives) and representing several generations, Feminist Genealogies in Spanish Art: 1960–2010 strives to restore what the museum justifiably refers to as “the erased memory of feminist knowledge, practices, and genealogies” from Spanish art history—from the waning years of Francisco Franco’s dictatorship to the current rise of the Indignados (“Indignant”) protest movement.
Ulrike Müller: Raw/Cooked
Brooklyn Museum
200 Eastern Parkway, Brooklyn, NY 11238
June 29–September 9, 2012
In the fifth installment of the Brooklyn Museum’s Raw/Cooked series, Ulrike Müller asked queer and feminist artists to create drawings based on slogans from historical feminist t-shirts found in the Lesbian Herstory Archives in Park Slope, Brooklyn. The resulting one hundred drawings are both a valentine to the work of queer and feminist activists of the past and a testament to the ongoing struggle faced by the contributing artists. In addition, Müller also culled the museum’s permanent collection to find objects that spoke to her project, displaying these alongside the drawings.
Joana Vasconcelos Versailles
Palace, Museum, and National Estate of Versailles
Versailles, France 78646
June 16–September 30, 2012
The Portuguese artist Joana Vasconcelos’s installation of large-scale sculptures in the Palace of Versailles addresses history and politics with a child’s sense of wonder and a master craftsman’s feel for material and form. Starting from the idea that the “world is an opera and Versailles embodies the operatic and aesthetic ideal,” Vasconcelos has installed her work, made from everyday objects and materials, in primary locations throughout the palace and its gardens. Mary Poppins (2010), a colorful creature composed of handmade and industrial fabric, hovers expectantly above a grand staircase. A pair of giant-sized high-heel shoes, made entirely from stainless-steel pots and pans, occupies the Hall of Mirrors, adding an Alice in Wonderland element to the ornate surrounding.
Sharon Hayes, Beyond, 2012, research/ production still (photograph © Sharon Hayes and photograph provided by the artist and provided by the artist, Tanya Leighton Gallery, Berlin, and the Whitney Museum of American Art)
Sharon Hayes: There’s So Much I Want to Say to You
Whitney Museum of American Art
945 Madison Avenue, New York, NY 10021
June 21–September 9, 2012
Sharon Hayes uses photography, film, video, sound, and performance to investigate the critical relationships among politics, history, speech, and desire. In her largest museum installation to date, Hayes worked with a collaborator, Andrea Geyer, to build an environment on the Whitney Museum’s third floor for staging a collection of the artist’s “speech acts,” which date from 2000 to today. The radical conceit of the installation calls to mind moments in the 2012 Whitney Biennial, such as Dawn Kasper’s studio residency, while also evoking the contemporary protest culture that the biennial displaced outside the museum.
Burnt Breakfast and Other Works by Su Richardson
Constance Howard Gallery and Women’s Art Library
Goldsmiths, University of London, New Cross, London, SE14 6NW, United Kingdom
July 6–September 9, 2012
Curated by Alexandra Kokoli for the Constance Howard Gallery and Women’s Art Library at Goldsmiths, Burnt Breakfast and Other Works by Su Richardson is the latest in a string of exhibits and symposia around London that have been dubbed the “Feminist Art Spring.” Richardson’s crocheted plate of a typical English breakfast of sausage, egg, bacon, and tomato was created in 1975 as a transatlantic exchange with other women artists. It has since become an iconic work and been reclaimed as a precursor of the contemporary use of crafts in fine art by artists working in the United Kingdom.
Niki de Saint Phalle on Park Avenue
Park Avenue between 52nd and 60th Street, New York, NY
July 12–November 15, 2012
Ten years after Niki de Saint Phalle’s death and forty-four years since her art was exhibited in Central Park’s Conservatory Garden, residents of and visitors to New York can once again commune with her sculptures of mosaic-bejeweled figures, installed in the traffic islands that line Park Avenue from 52nd to 60th Street. The parade of nine sculptures includes signature de Saint Phalle pieces, such as her everywoman “Nana” figures, as well as work from a series that celebrate African American jazz musicians and athletes. This outdoor exhibition is sponsored by Nohra Haime Gallery.
FIELD REPORT
posted by CAA — August 07, 2012
Doralynn Pines is an independent scholar and consultant based in New York and a member of the CAA Board of Directors. She served as associate director of the Metropolitan Museum of Art in New York and was chief librarian of the museum’s central research library.
The Digital World Meets Art History at Princeton University
On July 12, 2012, the Index of Christian Art at Princeton University in New Jersey sponsored a one-day conference that covered topics of digital archiving, research, and technical innovation in art history. Entitled “The Digital World of Art History: Databases, Initiatives, Policies, and Practices,” the conference was attended by almost one hundred art historians, art librarians, and museum and visual-resources curators. The year 2012 marks the ninety-fifth anniversary of the index, which was founded in 1917 by Charles Rufus Morey. The anniversary also celebrates the fact that the index’s information, held in library reserves for decades, has evolved into a growing digital database for use by scholars all over the world.
Organized by Colum Hourihane, director of the index, the conference featured eighteen invited speakers who discussed topics as varied as the future of art bibliography (Carole Ann Fabian, Avery Architectural and Fine Arts Library, Columbia University), copyright, scholarship, and fair use in the fine arts (Gretchen Wagner, ARTstor), art-historical research (Gwen David, Metropolitan Museum of Art and Queens College, City University of New York), and a database of performances of medieval narratives (Evelyn [Timmie] Birge Vitz and Marilyn Lawrence, both from New York University). Melitte Buchman, also of NYU, spoke about current best digital practices. The Morgan Library and Museum was represented by curators and librarians (Maria Oldal, Elizabeth O’Keefe, William Voelkle), who described their recently completed collaboration with the index. Approximately 58,000 images from over nine hundred Western medieval and Renaissance manuscripts will soon be available through the Morgan Library’s website and through the index.
Several talks outlined exciting new digital projects currently underway at Princeton, including databases and new initiatives at the index (Judith Golden, Jessica Savage, Beatrice Radden Keefe, Jon Niola, Henry Schilb), in the Visual Resources Collection (Trudy Jacoby), and in the Digital Humanities Initiative (David Mimno). Sandra Ludig Brooke, a librarian at the Marquand Library of Art and Archeology, spoke about the Blue Mountain Project, a team effort of scholars and librarians to catalogue, and make freely available, digital editions of avant-garde arts journals produced in Europe and North America between 1848 and 1923. The project is off to a running start with a generous grant from the National Endowment for the Humanities.
To wrap up the conference, Eleanor Fink of the World Bank Group presented “Art Clouds: Reminiscences and Prospects for the Future,” a look back at the well-known projects she oversaw during her tenure at the Getty Information Institute, including the Art and Architecture Thesaurus (AAT), the Union List of Artist Names (ULAN), the Thesaurus of Geographic Names (TGN), and the Bibliography of the History of Art (BHA). She also noted how far the field had come, with collaborative and cross-platform efforts being the norm. In looking to future prospects for seamless access to art information, Fink pointed to Linked Open Data and some recent projects that have begun to use it.
Hourihane has just announced the online publication of the papers on the Index of Christian Art website.
EDITORS OF THE ART BULLETIN
posted by Christopher Howard — August 06, 2012
Nora Griffin is an artist and CAA assistant editor.
Kirk Ambrose (2013–16)
Kirk Ambrose
Kirk Ambrose, associate professor of medieval art history and chair of the Department of Art and Art History at the University of Colorado in Boulder, will become editor-in-chief of The Art Bulletin. His three-year term begins on July 1, 2013, after he concludes a year as editor designate. Ambrose will succeed Karen Lang of the University of Warwick in England, who has led the journal since 2010.
As incoming editor, Ambrose plans to build on the legacies of two previous Art Bulletin editors, Karen Lang and Nancy Troy, and to develop alternative forums for debate within the journal, such as the recently inaugurated special features “Regarding Art and Art History” and “Notes from the Field.” Like Lang, he is also inspired by the journal’s approaching centennial, in 2013, and sees The Art Bulletin’s current moment as intellectually parallel to the “speculative and creative” art history that was being practiced in its pages in the early twentieth century. The recent decision of the German government to fund “clusters of excellence” has resulted in new structures at universities and has spurred Ambrose into dialogue with a group of international scholars from Brazil, France, India, and Turkey, to better understand the nuances of how “art-historical research and pedagogy is now conceived.” This international perspective on art history will be thoroughly addressed in a new series of short essays for The Art Bulletin, tentatively titled “Whither History?” in which invited scholars will “reflect upon how trends toward globalization in the humanities have had an impact on the ways we conceive art history.”
In 1999, Ambrose earned his PhD in the history of art from the University of Michigan in Ann Arbor with a dissertation on “Romanesque Vézelay: the Art of Monastic Contemplation,” completed under the guidance of Ilene Forsyth and Elizabeth Sears. Ambrose’s education also includes a BA from Oberlin College in Oberlin, Ohio, in 1990 and additional study at the Goethe Institut in Düsseldorf, Germany, and McGill University in Montreal, Canada.
A faculty member at the University of Colorado since 1999, Ambrose has taught a range of courses on topics of medieval art history and methodology at the undergraduate and graduate level and has served as an MA and PhD thesis advisor for many students. A specialist in Romanesque sculpture, Ambrose is dedicated to the idea of art history as a global discipline and to this end has worked to diversify his department at Colorado. He recently worked with the administration to create a tenure-track position for an art historian specializing in colonial Latin America.
Within Ambrose’s own field of interest, he has consistently chosen topics and methodologies of inquiry that enlarge the scope of medieval studies. His book Monsters in Twelfth-Century European Sculpture, is forthcoming from Boydell and Brewer, and he received a Samuel H. Kress Foundation grant for the volume The Nave Sculpture of Vézelay: The Art of Monastic Viewing (Toronto: Pontifical Institute of Mediaeval Studies, 2006). Recent book chapters include “Male Nudes and Embodied Spirituality in Romanesque Sculpture,” published in Meanings of Nudity in Medieval Art (Burlington, VT: Ashgate, 2012), edited by Sherry Lindquist. A 2011 essay, “Viollet-le-Duc’s Judith at Vézelay: Romanesque Sculpture Restoration as (National) Art,” published in Nineteenth-Century Art Worldwide, discusses the restoration of a medieval monument in nineteenth-century France as it relates to the country’s republican politics. He recently contributed to The Art Bulletin a review of Friedrich Kittler’s Optical Media: Berlin Lectures 1999, translated by Anthony Enns, that was published in the March 2011 issue, and a short piece on appropriation and medieval art in the multiauthored section “Notes from the Field” in June 2012.
Ambrose’s practice of a socially and culturally mindful art history has led to opportunities beyond the classroom. With colleagues Davide Stimilli and Lisa Tamiris-Becker, he is currently planning a 2014 exhibition at the University of Colorado Art Museum, tentatively titled Aby Warburg and the Beginning of Cultural Studies in the American Southwest. Ambrose states, “Warburg’s 1895–86 expedition to the Southwest is well known, but this journey looks very different when viewed from an American, rather than European, perspective. Much of Warburg’s vision appears indebted to a network of mostly Jewish merchants across the Southwest, who sold photographs of Indian rituals as well as ceramics and other objects that Warburg collected.” For Ambrose the exhibition is a means to explore the multifariousness of art-historical vision, and how “art practices can serve as vehicles of knowledge” for scholars at the turn of both the twentieth and twenty-first centuries.
THE REMARKABLE JOURNEY OF JUDY PETER
posted by Ann Albritton and Janet Landay — July 03, 2012
Ann Albritton is a professor of modern and contemporary art history at Ringling College of Art and Design in Sarasota, Florida, and chair of CAA’s International Committee.
Judy Peter, a scholar at the University of Johannesburg in South Africa, speaks at a meeting of CAA International Travel Grant recipients at the 2012 Annual Conference in Los Angeles (photograph by Bradley Marks)
A short time before the 2012 CAA Annual Conference in Los Angeles, Judy Peter and I began sending occasional emails back and forth from Johannesburg, South Africa, to Sarasota, Florida. As incoming chair of the International Committee, I had been assigned to Peter, one of twenty recipients of the CAA International Travel Grant Program, generously funded by the Getty Foundation. We had been paired based on a shared academic pursuit: teaching contemporary issues in art. Her short biography describing her as head of the Department of Jewellery Design and Manufacture at the University of Johannesburg gave me a brief introduction that made me curious to meet her. We met face-to-face early on the first morning of the conference and went with several other grant recipients and their hosts to a large roundtable breakfast at the Hotel Figueroa. It was there that I began getting to know her as a fellow art historian and theorist who was delighted to be at the conference and determined to make the most of the experience.
Peter is a dedicated scholar who has the distinction of being the first black person in South Africa to complete a PhD in visual studies: she earned her degree in 2011 at the University of Pretoria. Even though her country has been a democracy for eighteen years, many blacks and women in academia must still confront, and break through, the proverbial glass ceiling. Peter describes her research as a “critical reading of the politics of gender and identity issues in a new South Africa.” She is currently studying the work of thirteen female South African artists, looking at myriad geographical and historical influences that have affected their art practice. Each artist she has chosen to write on is working with identity, place, and displacement.
Between visits to the J. Paul Getty Museum and the Los Angeles County Museum of Art, Peter attended sessions she felt were useful to her, including the CAA International Committee panel, “Internationalizing the Field: A Discussion of Global Networks for Art Historians,” and others, such as “Black Venus: They Called Her Hottentot.” These sessions, she writes, “allowed me to compare teaching and learning practices between institutions in the United States and in South Africa.” In addition, Peter attended two of CAA’s Professional Development Workshops: “Advice for New Instructors” and “The Syllabus: Mapping Out Your Semester.” At the latter she made a connection with a workshop presenter, Steven Bleicher, a professor of visual arts at Coastal University in South Carolina. Since the conference, the two have been in communication regarding opportunities for scholars at the University of Johannesburg to contribute to Bleicher’s new book.
For the international scholars, networking within their diverse group was among the most important benefits of being a travel-grant recipient. Discovering common areas of research, exploring conflicting views, and sharing divergent teaching practices made for dynamic discussions and brought various groupings of scholars together. Isolation remains a common problem for many of the grantees, and the conference provided immediate and long-range opportunities for them to build new communities. In fact, many of them have continued these conversations online; several are making concrete plans for future collaborations.
Like even the most seasoned of CAA conference goers, Peter and the other international scholars attended a whirlwind of workshops, sessions, panels, meetings, and museums without much time for reflection. Directly following the event in Los Angeles, however, most travel-grant recipients flew across the country to spend a few days at the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts. At the Clark they were able to relax and get to know each other in a less formal environment, and to start to lay the groundwork for future work together.
I look forward to keeping in touch with Judy Peter in order to keep learning about the vastly different social and political landscape that artists and art historians inhabit in South Africa. I’m especially interested in her research on female artists active from 1994 to 2004. We’ll continue to exchange ideas, share our writing with one another, and possibly collaborate on a project.
Read about another travel-grant recipient, Dóra Sallay from Hungary, and review a report on all activities from the 2012 CAA International Travel Grant Program.
Solo Exhibitions by Artist Members
posted by CAA — June 22, 2012
See when and where CAA members are exhibiting their art, and view images of their work.
Solo Exhibitions by Artist Members is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
June 2012
Abroad
Gesche Würfel, Go for Gold! 2009 The Blue Fence | Olympic Stadium 4, 2007, digital C-type print, 20 x 20 in. (artwork © Gesche Würfel)Gesche Würfel. Underground Gallery, London, United Kingdom, July 26–August 9, 2012. Go for Gold! Photography.
Mid-Atlantic
Serena Bocchino, 99º (Fever) Hold Me Tight, 2012, enamel, graphite, and gold leaf on canvas, 38 x 48 in. (artwork © Serena Bocchino)Serena Bocchino. Simon Gallery, Morristown, New Jersey, May 29–July 31, 2012. Fever. Painting and work on paper.
Midwest
Neil Goodman. Perimeter Gallery, Chicago, Illinois, April 20–May 26, 2012. Breadth. Sculpture.
Northeast
Michele Brody. Guild Gallery II, New York, April 19–June 12, 2012. Drawing Roots. Drawing on handmade paper.
Lisi Raskin. Churner and Churner, New York, February 23–March 31, 2012. Shots in the Dark. Sculpture, drawing, and collage.
Mira Schor, Now, 2011, ink, oil, and gesso on linen 14 x 18 in. (artwork © Mira Schor)Mira Schor. Marvelli Gallery, New York, March 29–April 28, 2012. Mira Schor: Voice and Speech. Painting.
Dee Shapiro, Comfort Zone, 2011, ink and Flashe paint on paper, 22 x 30 in. (artwork © Dee Shapiro)Dee Shapiro. Andre Zarre Gallery, New York, June 19–July 28, 2012. Sexing the Polymorphs. Drawing.
Annie Shaver-Crandell. SiteImages Chelsea, New York, April 19–28, 2012. Steeds, Sofas, and Pistas: The Figure at Home, Abroad, and Afield. Painting.
Margaret Rose Vendryes, Gelede Cherrelle – African Diva, 2012, oil and cold wax on canvas with paper, 30 x 30 in. (artwork © Margaret Rose Vendryes)Margaret Rose Vendryes. Gelabert Studios Gallery, New York, May 29–June 16, 2012. 33⅓ Pushing the Needle: The African Diva Project. Painting and African masks.
South
Patricia Cronin, Memorial to a Marriage, 2002, over life-sized Carrara marble (artwork © Patricia Cronin; photograph provided by the artist)Patricia Cronin. Newcomb Art Gallery, Tulane University, New Orleans, Louisiana, April 25–June 30, 2012. Patricia Cronin: All Is Not Lost. Watercolor and sculpture.
Patricia Cronin. Arthur Roger Gallery, New Orleans, Louisiana, April 7–June 30, 2012. Patricia Cronin: Memorial to a Marriage. Sculpture.
Ruth Dusseault. Robert C. Williams Paper Museum, Institute of Paper Science and Technology, Georgia Institute of Technology, Atlanta, Georgia, April 20–June 8, 2012. The Innermost Room. Photography and video.
West
Ruth Weisberg, Together Again, 1975, color lithograph, 15 x 22 in. (artwork © Ruth Weisberg)Ruth Weisberg. Sylvia White Gallery, North Gallery, Ventura, California, April 11–May 13, 2012. Then and Now. Monotype.
People in the News
posted by CAA — June 17, 2012
People in the News lists new hires, positions, and promotions in three sections: Academe, Museums and Galleries, and Organizations and Publications.
The section is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
June 2012
Academe
Ellen K. LevyEllen K. Levy, an artist, writer, and former CAA president, has joined the faculty of the Institute for Doctoral Studies in the Visual Arts in Portland, Maine, as special advisor on art and sciences.
Museums and Galleries
Colette Crossman (photograph by Rick Hall)Colette Crossman, administrator of arts and programs for the Jack S. Blanton Museum of Art of the University of Texas at Austin, has been appointed curator of exhibitions at the museum.
Karen Sherry, previously associate curator of American art at the Brooklyn Museum in New York, has been named curator of American art at the Portland Museum of Art in Oregon.
Institutional News
posted by CAA — June 17, 2012
Read about the latest news from institutional members.
Institutional News is published every two months: in February, April, June, August, October, and December. To learn more about submitting a listing, please follow the instructions on the main Member News page.
June 2012
South view of the Michigan Avenue façade of the Art Institute of Chicago (photograph provided by the Art Institute of Chicago)The Art Institute of Chicago in Illinois, on behalf of the School of the Art Institute of Chicago, has been awarded a $40,000 grant from the National Endowment for the Arts to support the Teacher Institute in Contemporary Art at the school, an enrichment program for high school art teachers to engage with the art community of Chicago.
The Baltimore Museum of Art in Maryland has been granted $65,000 from the National Endowment for the Arts to support the reinstallation of its American art collection into newly refurbished galleries, originally designed in 1929 by John Russell Pope.
The Brooklyn Museum in New York has won two bronze 2012 MUSE awards: in the category of Interpretative Interactive Installations for the exhibition Vishnu: Hinduism’s Blue-Skinned Savior; and in the Online Presence category for the website of the exhibition Split Second: Indian Paintings (2011).
California State University, Long Beach, has been awarded Best Show in a University Art Gallery by the United States section of the International Art Critics Association for Perpetual Motion: Michael Goldberg (2010).
Cornell University in Ithaca, New York, is the recipient of a $45,000 grant from the National Endowment for the Arts in support of a program called Objects and Their Makers: New Insights at the Herbert F. Johnson Museum, which aims to introduce students to the arts of Africa, China, Japan, Tibet, and Southeast Asia, and to Precolumbian and Native American art.
The Currier Museum of Art in Manchester, New Hampshire, has been granted a $50,000 award from the National Endowment for the Arts to support the online publication of the museum’s collection of European and contemporary art.
The Dallas Museum of Art in Texas has recently launched a new website application called DMA Dashboard, which offers the public access to real-time museum statistics such as financial data, fundraising, and building operations.
The Getty Conservation Institute in Los Angeles, California, has launched the Conserving Modern Architecture Initiative, an international effort that aims to “increase knowledge for the field and develop new tools to assist practitioners,” according to Tim Whalen, the institute’s director. The initiative’s first project is the long-term conservation of the Eames House in Los Angleles, built by Charles and Ray Eames in 1949.
The J. Paul Getty Museum in Los Angeles, California, has won a 2012 MUSE award, receiving a silver award in the category of Audio Tours and Podcasts for Demons, Angels, and Monsters: The Supernatural in Art (2011). The museum also earned an honorable mention in the category of Applications and APIs for The Life of Art: Context, Collecting, and Display (2012).
The Solomon R. Guggenheim Museum in New York has been awarded the second-place prize for Best Thematic Museum Show in New York by the United States section of the International Art Critics Association for Chaos and Classicism: Art in France, Italy, and Germany, 1918–1936 (2010–11).
The Indianapolis Museum of Art in Indiana has received a $100,000 grant from the National Endowment for the Arts to support the documentation and conservation of the museum’s Western European design collection, a project that is in tandem with moving the collection to a newly designed 9,000-square-foot gallery. The museum has also won a bronze 2012 MUSE award in the category of Public Outreach for its campaign XLVI Reasons to Visit the Indianapolis Museum of Art.
Kennesaw State University in Kennesaw, Georgia, has received a $15,000 grant from the National Endowment for the Arts to aid a multimedia installation by the artist Matt Haffner for display in the lobby of the visual-arts building. A $3 million addition to the Kennesaw State University Art Museum and Galleries was recently approved by the University System of Georgia’s board of regents. The new 9,200-square-foot space, to open in March 2013, will house the university’s art collection and an interdisciplinary research center.
Kent State University in Kent, Ohio, has been awarded a $35,000 grant from the National Endowment for the Arts for an exhibition at the Kent State University Museum, called Shifting Paradigms of Identity: Creative Technology and Fashion, which will address how changing technology affects fashion.
Massachusetts College of Art and Design in Boston has received a $50,000 award from the National Endowment for the Arts to support scholarships for high school juniors and seniors to attend a four-week intensive summer art program.
The Mead Art Museum at Amherst College in Amherst, Massachusetts, has received a $1 million matching endowment grant from the Andrew W. Mellon Foundation in support of an initiative to integrate the museum’s collection into the college curriculum and to endow the position of coordinator of college programs. A stipulation of the grant calls for Amherst to raise a matching $1 million within three years.
The Menil Collection in Houston, Texas, has been awarded the second place in the category of Best Monographic Museum Show Nationally by the United States section of the International Art Critics Association for Kurt Schwitters: Color and Collage (2010–11).
The Metropolitan Museum of Art in New York has been awarded first place in the category of Best Architecture or Design Show by the United States section of the International Art Critics Association for Alexander McQueen: Savage Beauty (2011). The museum also won first place for Best Historical Museum Show Nationally for The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde (2012).
Michigan State University in East Lansing has been awarded a $40,000 grant from the National Endowment for the Arts to expand the reach of the Michigan Traditional Arts Program. In addition to documenting traditional artists and folk-art events, the program will enhance its online resources and use of social media to help connect folk artists, audiences, and other cultural workers.
Mount Mercy University in Cedar Rapids, Iowa, is the recipient of a $30,000 grant from the National Endowment for the Arts to support the conservation and documentation of William Lightner’s Our Mother of Sorrows Grotto, an outdoor environment and shrine made up of semiprecious stones, cement, and mosaics, built between 1929 and 1941.
The Museum of Fine Arts, Boston, in Massachusetts has received $80,000 from the National Endowment for the Arts to support two components of the museum’s Korean Collection Access Initiative—the publication of a catalogue and the reinstallation of the Korean art collection into a new 1,200-square-foot gallery.
The Museum of Modern Art in New York has been awarded first place in the category of Best Thematic Museum Show in New York by the United States section of the International Art Critics Association for On Line: Drawing through the Twentieth Century (2010–11). The museum has also won a gold 2012 MUSE award in the Public Outreach category for its interactive ad campaign “I went to MoMA and….”
The National Council on Education for the Ceramic Arts, based in Erie, Colorado, has accepted a $40,000 grant from the National Endowment for the Arts to assist exhibitions related to its 2013 national conference, to be held in Houston, Texas. An additional exhibition will take place in Santa Fe, New Mexico, to coincide with the forty-fifth general assembly of the International Academy of Ceramics.
The National Palace Museum in Taipei City, Taiwan, has won a gold 2012 MUSE award in the category of Multimedia Installations for the exhibition Along the River, During the Ching-ming Festival (2009).
The National Portrait Gallery of the Smithsonian Institution in Washington, DC, has received a first-place award from the United States section of the International Art Critics Association for the Best Thematic Museum Show Nationally for Hide/Seek: Difference and Desire in American Portraiture (2010–11).
The National Portrait Gallery in London, England, has recorded its highest-ever attendance figure for a single year, with 2 million museum-goers in 2011.
The Nelson-Atkins Museum of Art in Kansas City, Missouri, has received $100,000 from the National Endowment for the Arts for the digitization of its collection of more than 8,400 photographs ranging from 1839 to the present day.
The Neuberger Museum of Art, part of Purchase College, State University of New York, in Purchase, New York, has been awarded second place by the United States section of the International Art Critics Association for Best Thematic Museum Show Nationally for The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power, 1973–1999 (2011).
Pacific Northwest College of Art in Portland, Oregon, has received a $30,000 grant from the Collins Foundation in support of an initiative called Persist and Thrive, which seeks to diversify the student body and provide mentoring services and academic support for students from underrepresented backgrounds.
The Philadelphia Museum of Art in Pennsylvania has received a 2012 Philadelphia Exhibitions Initiative Grant from the Pew Center for Arts and Heritage. The museum will use the $250,000 grant to fund an exhibition for fall 2013, called Dancing around the Bride, devoted to Marcel Duchamp and his influence on John Cage, Merce Cunningham, Jasper Johns, and Robert Rauschenberg.
Pratt Institute in Brooklyn, New York, has earned a $30,000 grant from the National Endowment for the Arts to aid the school’s community outreach program, Design Initiative for Community Empowerment. The program provides a platform for underserved Brooklyn high school students to learn about design through guided studio work, public exhibitions, and studio visits.
The San Diego Museum of Art in California has received a $15,000 grant from the National Endowment for the Arts to support an artist’s residency for teenagers from the culturally diverse neighborhood of southeast San Diego. The residency will consist of visits to local art museums and also provide studio space and instruction from professional artists.
The San Francisco Museum of Modern Art in California has received a $375,000 grant from the Getty Foundation to support the Robert Rauschenberg Research Project, an online catalogue scheduled for completion in 2013 that will feature all the artist’s works held in the museum’s permanent collection. The project is part of a larger initiative to digitize museum catalogues, spearheaded by the Getty Foundation, called the Online Scholarly Catalogue Initiative.
The School of the Art Institute of Chicago in Illinois has received an award from the United States section of the International Art Critics Association for Best Show Involving Digital Media, Video, Film, or Performance for Yael Bartana: A Declaration, held at the Gene Siskel Film Center on March 10, 2011.
Scripps College in Claremont, California, has won a grant of $10,000 from the National Endowment for the Arts to support the offsite conservation of seven Chinese textiles from the sixteenth and seventeenth century in its Ruth Chandler Williamson Gallery.
Syracuse University Library in Syracuse, New York, has received more than 1,350 digitized documents, letters, and images from the Archives of American Art for its recently launched Marcel Breuer Digital Archive.
UB Anderson Gallery at the University of Buffalo in New York has been declared a 2012 MUSE award winner, receiving a silver Honeysett and Din Student Award for the touch-based website component of a permanent installation, Cravens World: The Human Aesthetic.
The Edwin A. Ulrich Museum of Art at Wichita State University in Wichita, Kansas, has been awarded $100,000 from the National Endowment for the Arts to restore a 1978 mural by Joan Miró that decorates the museum’s façade.
The University of the Arts in Philadelphia, Pennsylvania, has won a $15,000 grant from the National Endowment for the Arts to support a juried design/building competition called Something from Nothing: Eco-ventions for Urban Landscapes. The competition seeks proposals that reimagine derelict and underused urban spaces.
The University of Massachusetts in Amherst has earned $100,000 from the National Endowment for the Arts to support an exhibition and related programming devoted to the legacy of W. E. B. DuBois at the University Museum of Contemporary Art. The exhibition commemorates the 150th anniversary of the Emancipation Proclamation and will examine DuBois’s influence on social and political movements throughout the twentieth century.
The University of Michigan at Ann Arbor has received a $55,000 grant from the National Endowment for the Arts to update the University of Michigan Museum of Art with multimedia tools that will enhance visitors’ experience of the collection.
The University of Oregon in Eugene has been awarded a $40,000 grant from the National Endowment for the Arts to support an apprenticeship program called Preserving and Sustaining Oregon’s Cultural Traditions, which connects master folk artists to apprentices.
The University of Rochester in Rochester, New York has been granted $15,000 from the National Endowment for the Arts. The school will use the funds to conserve paintings and drawings by Carl W. Peter in the collection of the Memorial Art Gallery.
The University of South Florida in Tampa has been awarded a $75,000 grant from the National Endowment for the Arts to support the development of a traveling exhibition, UnCommon Practice: Graphicstudio, organized in partnership with the Tampa Museum of Art and the University of South Florida Contemporary Art Museum. The exhibition documents the forty-five-year history of the Graphicstudio at the university.
The Walker Art Center in Minneapolis, Minnesota, has received a gold 2012 MUSE award in the category of Online Presence for its new website, launched in late 2011.
The Walters Art Museum in Baltimore, Maryland, has won a grant from the National Endowment for the Humanities for $265,000 to support the digitization of 113 medieval Flemish manuscripts, including eighty Books of Hours prayer books. Since 2008, the museum has received two other grants for the purpose of digitizing their manuscript collection.
The Whitney Museum of American Art in New York has received $1.5 million from the Henry Luce Foundation. The grant will assist the museum’s relocation in 2015 to a new Renzo Piano–designed building in Manhattan’s Meatpacking District. The funds will also go toward the Whitney’s Collections Documentation Initiative, an effort to further document its permanent collection before the move. The United States section of the International Art Critics Association has awarded a first-place prize for the Best Monographic Museum Show in New York to the Whitney for Paul Thek: Diver (2010–11), and second-place prize for Glenn Ligon: AMERICA (2011). Last, the Whitney has won a silver 2012 MUSE award in the category of Education and Outreach for its interactive website, For Kids, and a bronze 2012 MUSE award for Video, Film, and Computer Animation for the Vlog Project, comprising short videos that feature deaf museum educators discussing contemporary art in American Sign Language.
Winterthur Museum, Garden, and Library in Winterthur, Delaware, has received a $50,000 award from the National Endowment for the Arts to support a digitization project that will document 4,000 works on paper, including eighteenth-century maps, watercolors, drawings, and silhouettes.
The Worcester Art Museum in Worcester, Massachusetts, has been awarded $20,000 from the National Endowment for the Arts to aid a project called Teen Artists @ WAM, in which students take classes with artist mentors and compete to make large-scale installations with the assistance of professional artists.