CAA News Today
People in the News
posted by CAA — September 17, 2010
People in the News lists new hires, positions, and promotions in three sections: Academe, Museums and Galleries, and Organizations and Publications.
To learn more about submitting a listing, please see the the instructions on main Member News page.
September 2010
Academe
Cameron Cartiere Cameron Cartiere has been appointed dean of graduate studies at Emily Carr University of Art and Design in Vancouver, British Columbia.
W. Mick Charney, professor of architectural history at Kansas State University in Manhattan, has been appointed coordinator of the university’s Faculty Exchange for Teaching Excellence for 2010–12.
Gregg Horowitz (photograph by Diana Pau and provided by Pratt Institute) Gregg Horowitz, formerly associate professor of philosophy at Vanderbilt University in Nashville, Tennessee, will chair the Social Science and Cultural Studies Department at Pratt Institute in Brooklyn, New York.
Julia Morrisroe has been promoted to associate professor and granted tenure in the School of Art and Art History at the University of Florida in Gainesville.
Denise MullenDenise Mullen, an artist and academic art administrator, has been appointed president of the Oregon College of Art and Craft in Portland.
David RaskinDavid Raskin has been promoted to professor in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago in Illinois.
Michael Yonan has been promoted to associate professor with tenure in the Department of Art History and Archaeology at the University of Missouri in Columbia.
Steven Zucker (photograph by Lorenzo Ciniglio and provided by Pratt Institute)Steven Zucker, formerly dean of graduate studies at the Fashion Institute of Technology, State University of New York, has been named chair of the History of Art and Design Department at Pratt Institute in Brooklyn, New York.
Museums
Brooke Davis AndersonBrooke Davis Anderson has been named deputy director for curatorial planning at the Los Angeles County Museum of Art in California.
Lynette Roth (photograph by David Johnson)Lynette Roth, currently Mellon Post-Doctoral Fellow in Modern Art at the Saint Louis Art Museum in Missouri, has been named Daimler-Benz Associate Curator of the Busch-Reisinger Museum, part of the Harvard Art Museums in Cambridge, Massachusetts. She will begin her new position on January 3, 2011.
Elizabeth Smith (photograph © MCA Chicago 2010)Elizabeth Smith, formerly chief curator and deputy director of programs at the Museum of Contemporary Art in Chicago, Illinois, has been appointed executive director of curatorial affairs at the Art Gallery of Ontario in Toronto.
Organizations
Deborah Marrow (photograph by David Albanese and © 2005 J. Paul Getty Trust)Deborah Marrow has been chosen as interim replacement director and chief executive officer of board of directors of the J. Paul Getty Foundation in Los Angeles, California, following the unexpected death of James E. Wood.
Jonathan NelsonJonathan Nelson, coordinator of the Art History Department at Syracuse University in Florence, has been appointed to the three-year position of assistant director for programs at the Harvard University Center for Italian Renaissance Studies Villa I Tatti, also in Florence.
Institutional News
posted by CAA — September 15, 2010
Read about the latest news from institutional members.
To learn more about submitting a listing, please see the instructions on the main Member News page.
September 2010
Frederic S. Remington, A Dash for the Timber, 1889, oil on canvas, 48¼ by 84⅛ in. Amon Carter Museum, Fort Worth, Texas. 1961.381 (artwork in the public domain)The Amon Carter Museum in Fort Worth, Texas, has extended its name. The institution will be known now as the Amon Carter Museum of American Art. The new name does not signify a shift in mission of the museum but rather clarifies what it has been offering since the mid-1960s.
Sculptures by Roy Lichtenstein and August Rodin in front of the High Museum of Art’s Anne Cox Chambers Wing (left), Wieland Pavilion (back right), and main building (front right) (photograph © 2005 Jonathan Jillyer and provided by the High Museum of Art)The High Museum of Art in Atlanta, Georgia, has begun a three-year collaboration with Brenau University in Gainesville, Georgia, that will allow for the sharing of resources to further the integration of the arts into Brenau’s educational curriculum. During this pilot initiative, Brenau will have the opportunity to draw on the High’s exhibitions, collections, programs, and staff expertise.
Hunter College, City University of New York, has announced a partnership between the Art Department and the Fundación Cisneros/Colección Patricia Phelps de Cisneros (CPPC) to support the teaching and development of Latin American art at the school. The initiative establishes the Patricia Phelps de Cisneros Professorship in Latin American Art and provides Hunter students with access to CPPC resources, which range from curatorial scholarship and archival material to artworks from the collection that will be made available to the Hunter College Art Galleries for study, exhibition, and publication.
William Merritt Chase, Woman in White, summer 1902, oil on canvas, 29 x 19 in. Indianapolis Museum of Art, Indiana. Gift of Mrs. Albert E. Metzger in memory of Albert E. Metzger. 45.241 (artwork in the public domain)The Indianapolis Museum of Art in Indiana has received $200,000 from the National Endowment for the Arts through its Mayors’ Institute of City Design 25th Anniversary Initiative. This program supports creative place-making projects that contribute to the livability of communities and help transform sites into lively, beautiful, and sustainable places with the arts at their core.
Georges de la Tour, The Magdalen with the Smoking Flame, ca. 1638–40, oil on canvas, 46 1/16 x 36 1/8 in. (117 x 91.76 cm). Los Angeles County Musuem of Art. Gift of the Ahmanson Foundation. M.77.73 (artwork in the public domain)The Los Angeles County Museum of Art in California has received a second $75,000 donation from the Hollywood Foreign Press Association to help build a sustainable film program at the museum. The first donation came a year ago, which supported screenings through summer 2010.
Students from Maryland Institute College of Art teach art to Baltimore-area children in a recent festival in the Community Arts Partnerships program (photograph provided by Maryland Institute College of Art)Maryland Institute College of Art in Baltimore has received a two-year, $200,000 grant from the Kresge Foundation’s College/Arts Initiative to expand the reach of the college’s Community Arts Partnerships (CAP) program and to determine a tangible, quantifiable link between community arts activity and the seemingly intangible outcomes of hope, well being, and engagement. The grant will fund four to six new community partnerships for CAP, which link art students interested in community engagement with low-income communities, serving an additional 100 to 175 inner-city residents. The College/Arts Initiative grant also will provide seed funding for the school’s partnership with the Gallup Student Poll on data collection and analysis, seeking to generate findings that will support the work of community arts practitioners.
Ox-Bow in Saugatuck, Michigan, and the School of the Art Institute of Chicago in Illinois have received a $1 million gift from the LeRoy Neiman Foundation to support Ox-Bow’s school of art and artists’ residency program, which is currently celebrating its one hundredth anniversary as an internationally renowned haven for visual artists, writers, and scholars. The LeRoy Neiman Scholarship Fund at Ox-Bow will provide student scholarships and support Ox-Bow’s Fellowship Program, which provides studio space and funding for twelve to fourteen students from art schools across the country to spend their summer at Ox-Bow.
The University of California, Los Angeles, has received a $1 million gift from the Resnick Family Foundation to provide need-based support for undergraduate and graduate students in the School of the Arts and Architecture. The funds were contributed to the Bruin Scholars Initiative, which since January 2009 has bolstered predictable, ongoing funding earmarked for student support amid increasing fees and a diminished economy affecting family incomes.
Grants, Awards, and Honors
posted by CAA — September 15, 2010
CAA recognizes its members for their professional achievements, be it a grant, fellowship, residency, book prize, honorary degree, or related award.
To learn more about submitting a listing, please see the instructions on the main Member News page.
September 2010
Julia Whitney Barnes, installation view of National Academy Subway Proposal, 2020, at the National Academy Museum’s Edwin Austin Abbey Mural Fellowship exhibition (artwork © Julia Whitney Barnes)Julia Whitney Barnes, an artist based in Brooklyn, New York, has received a 2010 Edwin Austin Abbey Mural Workshop Fellowship from the National Academy Museum and School of Fine Arts in New York. The workshop, which took place in July 2010, was a unique opportunity for artists to learn how to compete successfully for public mural commissions.
Rachel Epp Buller has received a Fulbright Scholar Grant for 2010–11. The Fulbright, along with a grant from the Gerda Henkel Foundation in Düsseldorf, will fund research for a book on the German artist Alice Lex.
John Casey, a doctoral student at the Graduate Center, City University of New York, has received the Dedalus Foundation’s 2010 Dissertation Fellowship Award for his study, “Picturing Architectural Theory: The Architectural Photobook in Germany, 1910–1945.” The $20,000 fellowship is awarded annually to a PhD candidate at an American university who is working on a dissertation related to modern art and modernism.
Jackie Gendel, Liliput, 2010, oil on canvas, 44 x 34 in. (artwork © Jackie Gendel)Jackie Gendel, an artist based in Brooklyn, New York, has received a grant from the Marie Walsh Sharpe Art Foundation’s Space Program for 2010–11, which provides free studios in New York for the creation of new works of art.
David Claypoole Johnston, Sound Asleep & Wide Awake or Marker & Sleeper, 1855, watercolor, 26 x 32½ cm (artwork in the public domain)Jennifer A. Greenhill has received a subvention from the Wyeth Foundation for American Art to help support the publication of her book, Playing It Straight: Art and Humor in the Gilded Age, forthcoming from the University of California Press. The book investigates the strategies artists devised to simultaneously conform to and humorously undermine “serious” artistic culture during the late nineteenth century.
Kira Lynn Harris has won a grant from Art Matters, a nonprofit foundation based in New York, for travel to France and Spain to complete a series of large-scale drawings and photographs of the Chapel of Notre Dame du Haut by Le Corbusier, Antoni Gaudi’s Sagrada Família in Barcelona, and George Wyman’s Bradbury Building in Los Angeles. Art Matters supports artists based in the United States whose work focuses on communications and collaborations across national borders.
Sol Kjøk, Entre sol et ciel, 2010, graphite and pastel on wall, 9.5 ft. x 18 ft. x 20 in., 2 sides.Sol Kjøk, an artist based in Brooklyn, New York, has received a 2010 Edwin Austin Abbey Mural Workshop Fellowship from the National Academy Museum and School of Fine Arts in New York. The workshop, which took place in July 2010, was a unique opportunity for artists to learn how to compete successfully for public mural commissions.
A still from a work-in-progress video by Lucy Raven about motion capture (photograph © Lucy Raven)Lucy Raven has received funding from Art Matters, a nonprofit foundation based in New York, for research in Chennai, Kerala, and Mumbai, India, for a video project exploring the international outsourcing of three-dimensional animation and visual effects for the creation of American landscapes in Hollywood movies. Art Matters supports artists based in the United States whose work focuses on communications and collaborations across national borders.
The American Council of Learned Societies (ACLS) New Faculty Fellows Program allows recent PhDs in the humanities to take up two-year positions at universities and colleges across the United States, where their particular research and teaching expertise augment departmental offerings. CAA member Christopher R. Lakey, a recent graduate of the University of California, Berkeley, won the fellowship for his dissertation, “Relief in Perspective: Italian Medieval Sculpture and the Rise of Optical Aesthetics.” He has been appointed at Johns Hopkins University in Baltimore, Maryland, for 2010–12.
The Andrew W. Mellon Foundation/ACLS Early Career Fellowships for Recent Doctoral Recipients provide a year’s support for scholars to advance their research following completion of the doctorate. CAA members Richard Patrick Anderson of Columbia University in New York won for “Toward a Socialist Architecture, 1928–1953”; and Meghan C. Doherty of the University of Wisconsin, Madison, won for “Carving Knowledge: Printed Images, Accuracy, and the Early Royal Society of London.”
The Andrew W. Mellon Foundation/ACLS Early Career Fellowship Program awards Dissertation Completion Fellowships, which provide support for young scholars to finish their dissertations; the fellowships are the first part of a program offering funding to scholars at the early stages of their careers. Among the recipients are two CAA members: Ellery Elisabeth Foutch of the University of Pennsylvania in Philadelphia for “Arresting Beauty: The Perfectionist Impulse of Peale’s Butterflies, Heade’s Hummingbirds, Blaschka’s Flowers, and Sandow’s Body”; and Maile S. Hutterer of the Institute of Fine Arts at New York University for “Broken Outlines and Structural Exhibitionism: The Flying Buttress as Aesthetic Choice in Medieval France.”
The Henry Luce Foundation/ACLS Dissertation Fellowships in American Art are awarded to graduate students in any stage of PhD dissertation research or writing for scholarship on a topic in the history of the visual arts of the United States. Although the topic may be historically and/or theoretically grounded, attention to the art object and/or image should be foremost. CAA member recipients are: Matthew K. Bailey of Washington University in St. Louis, Missoufor “Turbulent Bodies: Disruptive Materiality in Modern American Painting, 1880–1930”; Amanda Douberley of the University of Texas at Austin, for “The Corporate Model: Sculpture, Architecture, and the American City, 1946–1975”; Jason Goldman of the University of Southern California in Los Angeles, for “Open Secrets: Publicity, Privacy, and Histories of American Art, 1958–69”; Anna C. Katz of Princeton University in Princeton, New Jersey, for “Hybrid Species: Lee Bontecou’s Sculpture and Works on Paper, 1958–1971”; Rebecca E. Keegan of Duke University in Durham, North Carolina, for “Black Artists, the Problem of Authenticity, and ‘Africa’ in the Twentieth Century”; Edward M. Puchner of Indiana University in Bloomington, for “‘speaking His mind in my mind’: Racialized Theology, Divine Inspiration, and African American Art”; and Katherine Elizabeth Roeder of the University of Delaware in Newark, for “‘Cultivating Dreamfulness’: Fantasy, Longing, and Commodity Culture in the Work of Winsor McCay, 1904–1914.”
The Andy Warhol Foundation for the Visual Arts has announced its 2010 Curatorial Fellowships for Travel and Research. CAA member recipients are: Heather Campbell Coyle of the Delaware Art Museum in Wilmington, for conducting research on an exhibition and publication of the work of Scott Heiser, a fashion photographer from the 1980s whose idiosyncratic body of work has been forgotten since his death in 1993 ($11,000); Kristina Van Dyke of the Menil Collection in Houston, Texas, working with Bisi Silva, to organize an exhibition on contemporary African art with a focus on how technology shapes notions and facilitates expressions of love in Africa ($38,400); and Jonathan Katz of the Tacoma Art Museum in Washington, working with Rock Hushka, to prepare for an exhibition that explores twenty-five years of art made in response to AIDS ($40,000).
Exhibitions Curated by CAA Members
posted by CAA — September 15, 2010
Check out details on recent exhibitions organized by CAA members who are also curators.
To learn more about submitting a listing, please see the instructions on the main Member News page.
September 2010
Hendrick ter Brugghen, Saint Sebastian Tended by Irene, 1625, oil on canvas, 58 11/16 x 47 in. (149.1 x 119.4 cm). Allen Memorial Art Museum, Oberlin College. R. T. Miller Jr. Fund, 1953.256 (artwork in the public domain)Andria Derstine, Stephanie Wiles, Eliza Rathbone, and Renée Maurer. Side by Side: Oberlin’s Masterworks at the Phillips. Phillips Collection, Washington, DC, September 11, 2010–January 16, 2011.
Anne Truitt, Prima, 1978, acrylic on wood, 80½ x 7 7/8 x 8¼ in. Mildred Lane Kemper Art Museum, Washington University in St. Louis. Gift of Dr. and Mrs. Harold Joseph, 1998 (artwork © Anne Truitt)Meredith Malone. Gesture, Scrape, Combine, Calculate: Postwar Abstraction from the Permanent Collection. Mildred Lane Kemper Art Museum, Washington University in St. Louis, St. Louis, Missouri, August 20–September 20, 2010.
Jules Olitski, Without Sin, 1994, monotype, 18 x 24 in. (artwork © Jules Olitski)Judith E. Stein. Jules Olitski: An Inside View, A Survey of Prints 1954–2007. Opalka Gallery, Sage Colleges of Albany, Albany, New York, August 30–October 31, 2010.
Books Published by CAA Members
posted by CAA — September 15, 2010
Publishing a book is a major milestone for artists and scholars. Browse a list of recent titles below.
To learn more about submitting a listing, please see the instructions on the main Member News page.
September 2010
Peter Chametzky. Objects as History in Twentieth-Century German Art: Beckmann to Beuys (Berkeley: University of California Press, 2010).
Erina Duganne. The Self in Black and White: Race and Subjectivity in Postwar American Photography (Hanover, NH: Dartmouth College Press, in association with University Press of New England, 2010).
Michele Greet. Beyond National Identity: Pictorial Indigenism as a Modernist Strategy in Andean Art, 1920–1960 (University Park: Pennsylvania State University Press, 2009).
Matthew Landrus. Leonardo da Vinci’s Giant Crossbow (Heidelberg, Germany: Springer, 2010).
Maud Lavin. Push Comes to Shove: New Images of Aggressive Women (Cambridge, MA: MIT Press, 2010).
María Margarita Malagòn-Kurka. Arte como presencia indéxica. La obra de tres artistas colombianos en tiempos de violencia: Beatriz González, Oscar Muñoz y Doris Salcedo en la década de los noventa (Bogotá, Columbia: Ediciones Uniandes, 2010).
Heather Hyde Minor. The Culture of Architecture in Enlightenment Rome (University Park: Pennsylvania State University Press, 2010).
Mary B. Shepard, Lisa Pilosi, and Sebastian Strobl, eds. The Art of Collaboration: Stained-Glass Conservation in the Twenty-First Century (Turnhout, Belgium: Brepols, 2010).
Sandra Sider. Pioneering Quilt Artists, 1960–1980: A New Direction in American Art (New York: Photoart Publishing, 2010).
Richard A. Sundt. Whare Karakia: Maori Church Building, Decoration, and Ritual in Aotearoa New Zealand, 1834–1863 (Auckland, New Zealand: Auckland University Press, 2010).
John Willis, with an essay by Kent Nerburn and contributions by the Ogala Lakota people. Views from the Reservation (Chicago: Center for American Places and Columbia College Chicago, 2010).
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.
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.
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.
Committee on Women in the Arts Picks for June 2010
posted by CAA — June 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.
June 2010
Maude Kerns, Composition #85 (In and Out of Space), 1951, oil on canvas, 28 × 22 in. Gift of the Estate of Maude I. Kerns, collection of Jordan Schnitzer Museum of Art, University of Oregon, Eugene (1969:8.7). (photograph provided by the Whatcom Museum)
Show of Hands: Northwest Women Artists 1880–2010
Whatcom Museum
121 Prospect Street, Bellingham, WA 98225
April 24–August 8, 2010
The exhibition coincides with centennial of women’s suffrage in Washington State. Featuring more than ninety works of art by sixty-three women artists from Washington, Oregon, and British Columbia, Show of Hands celebrates women’s contributions to the legacy of Northwestern art and examines the myriad talents women of the Northwest have displayed since 1880 through painting, drawing, sculpture, photography, video, and installation.
Lil Picard and Counterculture New York
Grey Art Gallery
New York University, 100 Washington Square East, New York, NY 10003
April 20–July 10, 2010
Lil Picard and Counterculture New York features over seventy works by a pioneering feminist artist who played varied and acknowledged roles in the New York art world from the 1950s through the 1970s. This first comprehensive exhibition presents paintings, sculptures, drawings, collages, and several landmark installations and performances, as well as photographs, writings, and films. All works are drawn from the collections of the University of Iowa Museum of Art, which organized the show, and from the University of Iowa Libraries, which houses the artist’s extensive papers.
Pictures by Women: A History of Modern Photography
Museum of Modern Art
11 West 53rd Street, New York, NY 10019
May 7, 2010–March 21, 2011
Women have expanded the roles of photography during its 170-year history by experimenting with every aspect of the medium. Organized by Roxana Marcoci and Eva Respini, Pictures by Women: A History of Modern Photography presents a selection of outstanding photographs by women artists, charting the medium’s history from the dawn of the modern period to the present day. Including more than two hundred works, the exhibition features celebrated masterworks and new acquisitions by Diane Arbus, Berenice Abbott, Claude Cahun, Imogen Cunningham, Rineke Dijkstra, Florence Henri, Roni Horn, Nan Goldin, Helen Levitt, Lisette Model, Lucia Moholy, Tina Modotti, Cindy Sherman, Kiki Smith, and Carrie Mae Weems, among many others. The exhibition also highlights works drawn from a variety of curatorial departments, including Bottoms, a large-scale Fluxus wallpaper by Yoko Ono.
In Praise of America: Selections from the Sellars Collection of Art by American Women
Huntsville Museum of Art
300 Church Street South, Huntsville, AL 35801
June 13–August 29, 2010
Selected from the museum’s recent acquisition of over four hundred nineteenth- and twentieth-century works of art by American women, this exhibition presents accomplished landscapes, portraits, and genre scenes that celebrate the dramatic scenery, diverse people, and distinctive spirit of our great nation. Bringing a previously unseen facet of art history to life, the Sellars Collection offers a unique opportunity to discover contributions of women artists forged during a period of struggle and little recognition. The largest public collection of its kind, many of the artists represented in the collection studied at major academies, received accolades and awards, and pioneered the way for those who would follow. In Praise of America features approximately forty paintings, sculptures, and works on paper and includes engaging florals, still lifes, portraits, genre scenes, and landscapes reflecting different regions of the United States.
Ayumi Shigematsu, Circuit Tree, 2006, stoneware (artwork © Ayumi Shigematsu; photograph © Hideya Amemiya and provided by International Arts and Artists)
Soaring Voices: Recent Ceramics by Women from Japan
American University Museum
Katzen Arts Center at American University, 4400 Massachusetts Avenue NW, Washington, DC 20016
June 15–August 15, 2010
Through eighty-six works by twenty-five women artists, this exhibition, organized by International Art and Artists, showcases contemporary interpretations of a traditional art form through a range of motifs inspired from the natural world: plants, shells, mountains, rivers, and the play of light and shadow. Other sources of inspiration for these ceramic vessels can be found in the Noh Theater and kimono patterns of the Edo Period.
FIELD REPORT
posted by Christopher Howard — June 07, 2010
Getty-Sponsored Meetings on the Future of Art Bibliography
In response to the uncertain future of the Bibliography of the History of Art (BHA), and concerned with helping anticipate and facilitate new developments in art scholarship, the Getty Research Institute organized two meetings at the Metropolitan Museum of Art and the ARTstor office in New York on April 20–21, 2010. Funded with a grant from the Samuel H. Kress Foundation, the event, called “The Future of Art Bibliography in the 21st Century,” convened a small but passionate group of art librarians, professors, publishers, information specialists, and CAA representatives that began discussing the state of art bibliographies, research, and scholarship.
Kathleen Salomon, head of library services and bibliography at the Getty Research Institute, writes, “Our goal was to review current practices, take stock of changes, and seriously consider developing more sustainable and collaborative ways of supporting the bibliography of art history in the future.” The Getty has just released a brief summary of the April meetings, which describes outcomes and indicates important next steps. Appendices list the twenty-four members of the Future of Art Bibliography in the 21st Century Task Force, which includes Linda Downs, CAA executive director; the forty-five participants in the open meeting on April 20; and agendas for the two meetings.
CAA Summary of the Meetings
During the two days of discussion, ideas of scholarly authority and discipline comprehensiveness were discussed in relation to BHA. A key topic was a systemic process (creating a record of publication in the field) versus a critical approach (emphasizing the reliability or authority of a search). While many meeting participants agreed that complete breadth is an impossible goal, approaches to a future art bibliography should be as complete as possible, which is helpful in fending off duplicative research and the misrepresentation of ideas, according to Thomas DaCosta Kaufmann of Princeton University.
With internet research ever increasing, especially among undergraduate students, the popularity-driven results of search engines must be countered with reliable sources of knowledge, said Elizabeth Mansfield of New York University. She recently entered a lesser-known artist from the nineteenth century into Google Scholar; of the fifteen pages of results, none referenced the work of the most important scholar on that artist. Without a trustworthy body of knowledge on the web, authoritative research may drown in a sea of extraneous, even irrelevant material.
Since BHA covered only Western art—the founding editor Michael Rinehart noted that H. W. Janson’s survey textbook was the original model—inclusiveness is key to moving forward. Tom Cummins of Harvard University mentioned that references to only half his scholarship on South American art is archived in BHA: work dealing with colonialism (that is, Western influences) is included, but other publications are not found there. Any future bibliography should, of course, embrace scholarship on Asian, African, and South American art.
Further, because of increasingly multidisciplinary approaches in art history, an art bibliography should establish consistent metadata, with much of the information (from general publication information to keywords to abstracts) for a database generated by authors and publishers before publication. Multilingual subject headings, for example, are a must for a future art bibliography, as are linking, tagging, and other user-generated notations, as recommended in a paper by Jan Simane of the Kunsthistorisches Institut in Florence. Simane cited artlibraries.net as a model for a art-historical bibliography that would include such additional capabilities. Concerns about how to include citations from born-digital academic journals, which have become more numerous in recent years, into an art bibliography were also touched on in the meeting, as were resources in art history not traditionally captured by existing catalogues.
Collaboration and sustainability are also necessities, as single organizations like the Getty, CAA, the Art Libraries Society of North America (ARLIS), or the Comité International d’Histoire de l’Art (CIHA) can no longer host and maintain a bibliographic database on their own. This is especially evident with BHA, which received its final update of 135,000 records in spring 2010. Since BHA indexing ceased in summer 2009, one meeting participant estimated that two weeks would be needed to catch up on cataloguing one week’s worth of backlogged entries. However, it is unclear to the task force if there is an immediate need to plug this deepening hole, or if alternative approaches to bibliographies could better serve scholars.
Representatives from art bibliographies similar to BHA made short presentations. The Avery Index to Architectural Periodicals, reported Carole Ann Fabian of Columbia University, has three full-time indexers and a couple part-timers, but the bibliography’s scope—English-language publications from the 1930s to the present—is narrow enough to be sustainable. Fabian also talked about the index’s financial model as relying on aggregators, subscriptions, and technological and administrative resources at her university. Volunteer groups of scholars, it was thus determined at the meetings, could not sustain a comprehensive bibliography, but collaborations among institutions could alleviate the cataloguing burden. For example, the European-based Kubikat has no harvesting tool and all entries are done manually, said Rüdiger Hoyer of the Zentralinstitut für Kunstgeschichte, but the three German and Italian institutions that operate it are assigned specific periodicals to index.
Questions that remain open for discussion ranged from practical issues (“Do we need full abstracts or just subject headings?”) to philosophical inquiries (“Does an art bibliography best facilitate art-historical research, or do other methods need exploring?”) Creating an environment for discovery and enlightened self-interest in an art bibliography, in contrast to the older method of working toward the greater good, was put forward in the meetings. In the face of the increasing instrumentalization of the humanities in higher education, perhaps the most pressing concern is how to more strongly articulate the need for a comprehensive art bibliography.
Next Steps
After intensive discussion, the task force did not come to consensus on an immediate plan of action. Some members believed that the BHA model should be adhered to and expanded, and others felt a wholly new approach to art bibliographies is needed. Therefore, within the next six months the task force plans to seek funding for two things. First, it will create an international working group, which will include an outside specialist, to scan currently operating art bibliographies, which in addition to BHA include artlibraries.net, arthistoricum.net, the Avery Index, Arcade, and Kubikat, among others. The task force will also examine emerging resources and other technological opportunities. Second, the task force will establish another group, again with an outside consultant, that will conduct focus groups with librarians, scholars, publishers, and nonprofit and commercial vendors to determine their professional needs. The task force also plans to explore different business models and more clearly identify the technological and financial challenges that can sustain BHA or something like it.
A follow-up discussion took place at the ARLIS annual meeting, held on April 25, 2010, in Boston. Further meetings will be held this month at the Getty Research Institute in Los Angeles (for participants who could not attend the New York meeting because of flights cancelled from the volcanic ash); at the yearly International Federation of Library Associations and Institutions conference in Gothenburg, Sweden, in August 2010; and at the CAA Annual Conference in New York in February 2011.