CAA News Today
News from the Art and Academic Worlds
posted Dec 06, 2012
Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
NEH Solicits Comments on Digital Projects for the Public Grant Program Guidelines
The National Endowment for the Humanities will launch a new Digital Projects for the Public grant program in fiscal year 2014 and seeks public comment on its proposed guidelines. The new program will fund humanities projects using digital formats such as websites, mobile applications, games, social media, and virtual environments to reach the public and foster lifelong learning. (Read more from the National Endowment for the Humanities.)
“Can I Use This?” How Museum and Library Image Policies Undermine Education
Although eight years have passed since Eastman Kodak announced that it would stop manufacturing slide projectors, we have built only a fragmented system for distributing high-quality digital images—one that is failing our students, our discipline, and the public. More has changed than the technology we use to illustrate our lectures. (Read more from E-Literate.)
Who Owns Captured Lectures?
Lecture-capture technology has advanced to a point where implementing a solution can be disarmingly simple. But it’s important for faculty and administrators not to be lulled into a false sense of security—recording faculty and guest lectures still comes with its share of legal issues covering copyright, intellectual-property rights, distribution, and permissions. While some lecture-capture technology provides assistance even in these areas, colleges and universities need to develop clearly defined guidelines on how recorded lectures can be used. (Read more from Campus Technology.)
The Genomics of Art, Education, and Commerce
Recently I blogged about Art.sy, a service built on the Art Genome Project that enables users to discover, learn about, and collect art that is suggested to them via a mathematical algorithm. That post provoked so much interesting discussion that I followed up with Christine Kuan, chief curator and director of strategic partnerships at Art.sy, to relay some of the questions raised by commentators related to Art.sy’s educational goals, its for-profit business model, and its relationship to the art world. (Read more from the Center for the Future of Museums.)
Bucking Conventional Wisdom: Arts Graduates Gauge Success Differently
A new report by the Strategic National Arts Alumni Project offers important new insights into the value of an arts school education, countering prevailing views about salary levels and job prospects as the most important indicators of alumni satisfaction and career success. Called Painting with Broader Strokes: Reassessing the Value of an Arts Degree, the report offers insights into the careers and perspectives of 13,851 arts graduates from 154 institutions surveyed in 2010, shedding new light on educational training and experiences, employment paths, involvement in the arts outside work, and overall job satisfaction and income. (Read more from the Strategic National Arts Alumni Project.)
A Different Kind of Application Fee
A tenure-track job is surely a valuable commodity, but would you pay for a shot at one? A listing for a faculty painting position at Colorado State University attracted some heat on Twitter when several academics noticed the $15 fee attached to the position. The job ad states simply: “In lieu of postage and duplication costs you will be charged a fee of $15.” (Read more from Inside Higher Ed.)
Ten No-Nonsense Tips for Landing a Career in the Art World
Congratulations, you’ve got your shiny degree in curating, art history, or critical theory. Now, how will you make your way in the notoriously cutthroat art world? Sophie Macpherson is the right person to ask. Her company, Sophie Macpherson Ltd, is the leading art recruitment agency, with a London office and representatives in Paris, New York, and soon, East Asia. (Read more from Blouin Artinfo.)
What’s Hot, What’s Not
Frieze shares what terms are hot, not, and holding steady in the world of artist’s statement. What’s hot? An art practice that “is transversal,” “inhabits a transgendered space,” “is post-/para-fictional,” and “references both my height and the height of my bedroom ceiling when I was a teenager.” (Read more from Frieze.)
Support CAA’s Journals through the Publications Fund
posted Dec 05, 2012
As 2012 comes to a close and CAA looks toward the year to come, it is time for us to consider the future of our publications. CAA’s long-standing, highly regarded print journals, The Art Bulletin and Art Journal, deliver much of the world’s leading scholarship in art history and visual studies. CAA member support of the Publications Fund helps maintain each publication’s preeminent position. I encourage you to join our growing list of donors this year.
The Art Bulletin, which covers the full range of art history in essays by some of the world’s most acclaimed art scholars, marks its centennial in 2013, celebrating one hundred years of exemplary scholarship and leadership in the field. Art Journal, in print since 1929, is an ever-evolving forum for topics in modern and contemporary art. Next spring will see the first issue of its new editor-in-chief, Lane Relyea. The youngest CAA publication, the born-digital caa.reviews, annually presents hundreds of reviews of books, exhibitions, publications, projects, conferences, and symposia as the sole art journal devoted exclusively to reviews. Founded in 1998, it celebrates its fifteenth anniversary this year with an Annual Conference panel discussion about its origin, evolution, and future. Together, these three journals promote new scholarship and practices in the visual arts to an international audience.
At a time when academic publishing offers fewer venues for discussion and debate, the visibility and vitality of The Art Bulletin, Art Journal, and caa.reviews continue to broaden. The journals reach tens of thousands of readers annually and remain essential resources—none of which would be possible without the support of donors.
Contributors who give at a level of $250 or higher are prominently acknowledged in the publication they support for four consecutive issues, as well as on the publication’s website for one year. On behalf of the artists, scholars, writers, and reviewers who publish in the journals, I hope CAA can count on your support this year.
Thank you for your consideration of this request. Your ongoing commitment is essential to our success—and very much appreciated.
With best regards,
Anne Collins Goodyear
CAA Board President
Make a Year-End Donation to CAA’s Annual Fund
posted Dec 05, 2012
As 2012 comes to a close, the College Art Association extends thanks for your ongoing membership and support. Members, like you and me, are the engine and purpose for CAA, and it is through our help that CAA provides the myriad programs and services that so many artists, art historians, and other professionals in the visual arts depend upon. This fall, please consider making a generous contribution to CAA’s Annual Fund.
The Annual Fund is integral to CAA’s mission, providing flexible funding to supplement the project-specific support that comprises the majority of charitable gifts to the organization. CAA is dedicated to continuing prized resources that members have come to expect, including:
- The orchestration of the world’s preeminent conference for artists, art historians, critics, conservators, curators, students, and other professionals in the visual arts
- The production of its highly regarded publications: The Art Bulletin, Art Journal, and caa.reviews
- An abundance of online resources, including the Online Career Center for job listings, Standards and Guidelines for professional practices, and CAA News to keep you informed of developments in the field
- Essential advocacy work to promote federal support of the visual art
- Fellowships to graduate students and publishing grants for books in art history
- Travel grants to students and international professionals to attend the Annual Conference
- The production of yearly directories of graduate programs in the arts, which provide detailed information on higher-education programs in studio art and design, art and architectural history, curatorial studies, and more
CAA is dedicated to remaining a progressive voice and indispensible resource in the visual arts, but can only do so with the help and participation of its membership. Your contribution to the Annual Fund will allow CAA to make its active, essential voice in the art world a vital one into the future.
My great thanks for your ongoing support of CAA and contribution to this year’s appeal.
Sincerely,
Patricia McDonnell
CAA Vice President for External Affairs
P.S. Contributions to CAA’s Annual Fund are 100 percent tax deductible.
Join the 2013–14 Nominating Committee
posted Dec 04, 2012
CAA invites you to help shape the future of the organization by serving on the 2013–14 Nominating Committee. Each year, this committee nominates and interviews potential candidates for the CAA Board of Directors and selects the final slate for the membership’s vote. The candidates for the 2013–17 board election were announced last month.
The current Nominating Committee will choose the new members of its own committee at its business meeting, to be held at the 2013 Annual Conference in New York in February. Once selected, all committee members must propose, in the spring, a minimum of five and a maximum of ten people for the board. Service on the committee also involves conducting telephone interviews with candidates during the summer and meeting in fall 2013 to select the final board slate. Finally, all Nominating Committee members attend their business meeting, at the Chicago conference in 2014, to select the next committee.
Nominations and self-nominations should include a brief statement of interest and a two-page CV. Please email a statement and your CV as Word attachments to the attention of DeWitt Godfrey, CAA vice president for committees, care of Vanessa Jalet. Deadline: January 4, 2013.
ARTexchange Seeks Participants
posted Dec 03, 2012
CAA’s Services to Artists Committee invites artist members to participate in ARTexchange, an open forum for sharing work at the 2013 Annual Conference. Free and open to the public, ARTexchange will be held on Friday, February 15, 5:30–7:30 PM, in a central location at the Hilton New York. A cash bar will be available.
ARTexchange is an annual event showcasing the art of CAA members, who can exhibit their paintings, drawings, prints, photographs, sculptures, and digital works using the space on, above, and beneath a six-foot folding table. Artists may also construct temporary mini-installations and conduct performance, sound, and spoken-word pieces in their space. In the past, many ARTexchange participants found the event to be their favorite part of the conference, with the table parameter sparking creative displays.
To be considered for ARTexchange in New York, please send your full name, your CAA member number, a brief description of the work you want to exhibit (no more than 150 words), and a link to your website to Lauren Stark, CAA manager of programs. Artists presenting performance or sound art, spoken word, or technology-based work, including laptop presentations, must add a few sentences about their plans. Accepted participants will receive an email confirmation. Because ARTexchange is a popular venue with limited space, early applicants will be given preference. Deadline: December 14, 2012.
Participants are responsible for their work; CAA is not liable for losses or damages. Sale of work is not permitted. Participants may not hang artworks on walls or run power cords from laptops or other electronic devices to outlets—bring fully charged batteries.
Image: the artists Jeff Schmuki and Wendy DesChene, founders of PlantBot Genetics, demonstrate their products during ARTexchange at the 2012 Annual Conference in Los Angeles (photograph by Bradley Marks)
News from the Art and Academic Worlds
posted Nov 28, 2012
Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Register for Arts Advocacy Day
The 2012 election has made a dramatic impact on Congress, with more than eighty new members taking office in early January 2013. The next Congress will renew the focus on reducing the federal deficit and creating jobs, and it is imperative that arts advocates work together to craft a policy agenda that supports the nonprofit arts sector and arts education. (Read more from Americans for the Arts.)
Humanities Advocacy Day Registration
Registration for Humanities Advocacy Day and the annual meeting of the National Humanities Alliance will help you to connect with a growing network of humanities leaders, to communicate the value of the humanities to members of Congress, and to become a year-round advocate for the humanities. (Read more from the National Humanities Alliance.)
How Art History Is Failing at the Internet
The history of art as practiced in museums and the academy is sluggish in its embrace of the new technology. Of course we have technology in our galleries and classrooms and information on the web; of course we are exploiting social media to reach and grow our audiences, by tweeting about our books and articles, including links to our career accomplishments on Facebook, and chatting with our students online. But we aren’t conducting art-historical research differently. We aren’t working collaboratively and experimentally. (Read more at the Daily Dot.)
Grad School Confidential: How to Choose the Right Degree
Graduate school is hard. It’s also really expensive. But if you’re actually going to invest the time and money to do it, make it count for yourself. If you need a good graduate school to be able to do the things you want to do, aim high. You can go online and check the US News and World Report rankings, of course. And there are some damn good schools on that list. But if you choose a graduate school based on the institution’s reputation alone, you may find yourself in a discipline or among peers that simply don’t suit you. (Read more at Burnaway.)
More on Pedagogy in Arts Entrepreneurship
As I’ve been working on a pedagogical approach for emerging arts entrepreneurs, I’ve immersed myself in literature and resources on creative thinking and creative problem solving. What keeps striking me is the stark difference between creativity as applied in the development of complex ideas and the creative process in the making of art. The former lends itself, at least to a great degree, to techniques, processes, and formulae, while the making of art does not. One is rational, the other un-rational. (Read more at State of the Art.)
Shift in Heritage: Richard Serra Sculpture Has Uncertain Future
The closest thing southern Ontario has to Stonehenge is Shift, a sculpture by Richard Serra in a King City farmer’s field. Serra is a superstar artist whose work is worth millions of dollars, but Shift remains relatively obscure. Though many places would envy our big Serra, last month the Ontario Conservation Review Board decided not to support King Township’s request that Serra’s work be protected under the Ontario Heritage Act, so its future remains uncertain. (Read more at the Toronto Star.)
Dating and Job Hunting
Last January, I returned mentally and emotionally exhausted from the American Historical Association meeting. I had been lucky to have had a few interviews, and all I could do was refresh my email every few minutes, hoping for any updates. I toggled over to Facebook and quickly posted the status, “If the academic job market is like dating (and it totally is) I hope to be engaged by Valentine’s Day.” The likes and comments poured in from family and friends. (Read more at Inside Higher Ed.)
Masterpieces on Loan Leave MFA Walls Lacking
Visitors to the Museum of Fine Arts, Boston, this holiday season can see the celebrity and fashion photographs of Mario Testino. But if they wander off into the permanent collection galleries, they won’t find the museum’s most famous Renoir, Dance at Bougival. Nor will they see any of the museum’s five paintings by Cezanne, five of its six great paintings by Manet, its most distinctive Monet, or its two greatest van Goghs. Some of these works have been lent to serious and scholarly museum shows in the United States, Japan, and Europe. Agreeing to such loans is common practice and builds goodwill for when the museum asks to borrow for its own exhibitions. (Read more at the Boston Globe.)
Robert Storr Is Convocation Speaker
posted Nov 27, 2012
Robert Storr, dean of the Yale University School of Art and a former senior curator at the Museum of Modern Art (MoMA), will deliver the keynote address during Convocation at the 2013 Annual Conference in New York. Convocation, which includes the presentation of the 2013 CAA Awards for Distinction, will take place on Wednesday evening, February 13, from 5:30 to 7:00 PM. Free and open to the public, the event will be held in the East Ballroom, on the second floor of the Hilton New York in midtown Manhattan.
Storr joined the Department of Painting and Sculpture at MoMA in 1990, where he has organized solo exhibitions on Elizabeth Murray (2005–6), Max Beckmann (2003), Gerhard Richter (2002), Chuck Close (1998), Tony Smith (1998), and Robert Ryman (1993–94). He also coordinated the Projects series at the museum from 1990 to 2000. More recently, Storr served as commissioner of the 2007 Venice Biennale, which was titled Think with the Senses, Feel with the Mind: Art in the Present Tense. He was the first American invited to the position.
A painter and a critic, Storr has written on art for Art in America, where he has been a contributing editor since 1981, and for Frieze, where he wrote a regular column from 2004 to 2011. In addition to publishing books on Close and Philip Guston, he has recently completed Intimate Geometries: The Work and Life of Louise Bourgeois (forthcoming).
Storr earned a BA from Swarthmore College in 1972 and an MFA from the School of the Art Institute of Chicago in 1978. The recipient of numerous grants, awards, and honors, he has lectured at colleges and universities throughout the northeastern United States. Storr began his official academic career in 2002, leaving MoMA to become the first Rosalie Solow Professor of Modern Art at New York University’s Institute of Fine Arts. Storr joined Yale in 2006 as dean and was recently reappointed to that position for a second five-year term. He is also professor of painting and printmaking at his school.
Storr has intersected with CAA at various points throughout his career. He has chaired several Annual Conference sessions and has spoken on even more. He served on the Art Journal Editorial Board from 1985 to 1995 and, with the attorney Barbara Hoffman, guest edited two issues on censorship and the visual arts, in fall and winter 1991. A ever-passionate advocate, Storr took up the issue again in 2011, writing a piece in Frieze on the Hide/Seek controversy.
On Tuesday, February 12, a day before Convocation, Storr will participate on a panel, titled “Hands On,” at the New York Studio School in Greenwich Village. Joining him will be the art historians Svetlana Alpers, professor emerita at the University of California, Berkeley, and David Rosand, Meyer Schapiro Professor of Art History Emeritus at Columbia University, who will discuss the connections between making art and writing about it. David Cohen, an art critic and the editor of Artcritical.com, will moderate. The event, starting at 6:30 PM, is free and open to the public; seating, however, may be limited.
Image: Robert Storr (photograph by Herbert Lotz)
Recipients of the 2013 CAA International Travel Grants
posted Nov 21, 2012
CAA is pleased to announce this year’s recipients of its International Travel Grant Program, generously funded by the Getty Foundation. Twenty art historians, including professors, curators, and artists who teach art history, will attend the upcoming Annual Conference in New York, taking place February 13–16, 2013. This is the second consecutive year that CAA has received a Getty grant to support the program.
Please read the full article to learn more about the twenty recipients, who come from the Caribbean, South America, Europe, Africa, and Asia.
In addition to covering travel expenses, hotel accommodations, and per diems, the CAA International Travel Grant Program includes conference registration and a one-year CAA membership. At the conference, the twenty recipients will be paired with hosts, who will introduce them to CAA and to specific colleagues who share their interests. CAA is grateful to the National Committee for the History of Art (NCHA) for its generous support in underwriting the hosts’ expenses. Members of CAA’s International Committee have agreed to serve as hosts, along with representatives from NCHA and CAA’s Board of Directors. This year, the program will begin with a one-day preconference for grant recipients and their hosts in New York on February 12.
CAA is delighted by the range of interests and accomplishments of this year’s grant recipients and looks forward to welcoming them in New York.
Image: Ding Ning, a professor and vice dean of the School of Arts at Peking University in China, is a 2013 travel-grant recipient.
RECIPIENTS OF 2013 CAA INTERNATIONAL TRAVEL GRANTS
posted Nov 20, 2012
CAA is pleased to announce this year’s recipients of its International Travel Grant Program, generously funded by the Getty Foundation. Twenty art historians, including professors, curators, and artists who teach art history, will attend the upcoming Annual Conference in New York, taking place February 13–16, 2013. This is the second consecutive year that CAA has received a Getty grant to support the program.
In addition to covering travel expenses, hotel accommodations, and per diems, the CAA International Travel Grant Program includes conference registration and a one-year CAA membership. At the conference, the twenty recipients will be paired with hosts, who will introduce them to CAA and to specific colleagues who share their interests. CAA is grateful to the National Committee for the History of Art (NCHA) for its generous support in underwriting the hosts’ expenses. Members of CAA’s International Committee have agreed to serve as hosts, along with representatives from NCHA and CAA’s Board of Directors. This year, the program will begin with a one-day preconference for grant recipients and their hosts in New York on February 12.
The CAA International Travel Grant Program is intended to familiarize international professionals with the Annual Conference program, including the session participation process. CAA accepted applications from art historians, artists who teach art history, and art historians who are museum curators; those from developing countries or from nations not well represented in CAA’s membership were especially encouraged to apply. In September 2012, a jury of CAA members selected the final twenty recipients, whose names, home institutions, and primary areas of scholarly and professional pursuits follow. CAA is delighted by the range of interests and accomplishments of this year’s grant recipients and looks forward to welcoming them in New York.
CAA hopes that this travel-grant program will not only increase international participation in the organization’s activities, but will also expand international networking and the exchange of ideas both during and after the conference. The Getty-funded International Travel Grant Program supplements CAA’s regular program of Annual Conference Travel Grants for graduate students and international artists and scholars.
Joseph Adandé
Joseph Adandé
Joseph Adandé received a PhD in art history from the Université de Paris I, Sorbonne, where he focused on a comparative study of Ashanti stools and the Dahomey royal stools. Since 1986, he has taught art history at the Université d’Abomey-Calavi and at the Institut Supérieur d’Information, de Communication et des Arts (ISICA), at the University of Lomé, Togo. He defended a doctorat d’État in 2012 on “Humor in Traditional and Contemporary African Arts” at the Université de Lomé.
Adandé has taught and lectured in universities in Italy and Germany and served as a resource person for the School of African Heritage in Porto-Novo. He received a fellowship to the Metropolitan Museum of Art in New York to write a book on appliqué cloth in West Africa. Currently active in launching a school of fine arts at his university, Adandé recently obtained a three-month invitation to the Institut National d’Histoire de l’Art (INHA) in Paris, France, from September to November 2012.
Priscila Arantes
Priscila Arantes
Priscila Arantes is a cultural critic, curator, professor and director. She has been director and curator of Paço das Artes (State Secretariat of Culture/SP/Brazil) since 2007 and professor at Pontifícia Universidade Católica de São Paulo (PUC/SP) (Pontifical Catholic University) since 2002. She received her PhD in communication and semiotics from Pontifícia Universidade Católica de São Paulo and conducted postdoctoral research in the Department of Visual Art at the Pennsylvania State University. Between 2007 and 2011 Arantes was associate director of the Museum of Image and Sound in São Paulo, and in 2010 she was a member of the São Paulo Art Biennial’s editorial council of the magazine Polo de Arte Contemporânea. She has published widely about digital aesthetics and also curated exhibitions at Paço das Artes, notably Assim é, se lhe parece, translated as Right You Are! (If You Think So), in 2011 and Projeto 5X5 in 2012. Her research interests include contemporary art, Brazilian and Latin American art, and postcolonial studies.
W. M. P. Sudarshana Bandara
W. M. P. Sudarshana Bandara
W. M. P. Sudarshana Bandara is a lecturer in the Department of Fine Arts, University of Peradeniya, Sri Lanka. Trained as a painter, he received an MPhil in art history in 2009. He is currently pursuing a PhD, exploring how Eastern and Western concepts of art are used in the analysis of modern and postmodern works of art. Bandara is particularly interested in the intersection of art, Marxism, semiotics, and the Indian concept of Rasa.
Bandara teaches undergraduate and graduate courses in fine arts, art history, aesthetics, and criticism. In addition to teaching, he assists and supervises the research work of BA and MPhil students. The author of three academic research books and over twenty research papers, Bandara is also an active painter, exhibiting in solo and group exhibitions in Sri Lanka and internationally.
Marly Joseph Desir
Marly Joseph Desir
Marly Joseph Desir received his PhD in art history from the University of Arts, Haiti. He is a professor at the College La Renaissance, Port-au-Prince, Haiti, specializing in European and American art. As a teacher he uses lectures and multimedia technology to present a rich tapestry of visual information to his students, guiding them through the history of art, connecting historical traditions and practices to techniques through the ages, and linking them to a practical application of these techniques. His most recent publication is “True Art and Pseudo Art: Symbolist Discourse on Autonomy and Value” (2012). Earlier work includes: “Art Ethics: Thomas Kinkade and Contemporary Art” (2011); “National Art from a Local Perspective” (2008); and “Foreign or Native, Perception and Reception of Impressionism in American Art Criticism” (2006). Desir’s research focuses on twentieth-century American history and Byzantine manuscipts from the ninth through fourteenth centuries.
Ding Ning
Ding Ning
Ding Ning graduated with a PhD degree from Beijing Normal University in 1988. He was the British Council’s postdoctoral fellow at the University of Essex from 1993 to 1994. Before moving to Beijing in 2000, he served as professor and chair of the Department of Art History and Theory, China National Academy of Fine Arts in Hangzhou. He is currently a professor and vice dean at the School of Arts, Peking University.
Ding’s publications include Dimensions of Reception; Psychology of Visual Art; Dimensions of Duration: Toward a Philosophy of Art History; Depth of Art; Fifteen Lectures on Western Art History; and Spectrum of Images: Toward a Cultural Dimension of Visual Arts. He has also translated extensively, including Norman Bryson’s Tradition and Desire: From David to Delacroix and Looking at the Overlooked: Four Essays on Still Life Painting; Douglas Kellner’s Media Culture: Cultural Studies, Identity, and Politics between the Modern and the Postmodern; and David Carrier’s Museum Skepticism: A History of the Display of Art in Public Galleries.
Davor Džalto
Davor Džalto
Davor Džalto is a professor of history and theory of art at the Institute for the Study of Culture and Christianity, Belgrade, and the University of Niš. He graduated from the Faculty of Philosophy at the University of Belgrade in Serbia and received his PhD from the University of Freiburg in Germany. He also conducted postdoctoral research at the University of Münster, also in Germany.
A visiting professor at various European and American universities, Džalto has published four books and over thirty scholarly articles and essays in the field of art history and theory, cultural studies, philosophy, and Orthodox theology. He is also an artist, working in the media of painting, objects, installations, performances and video art. He has exhibited in numerous one-man and group exhibitions in Europe, Asia, and North America.
Richard Gregor
Richard Gregor
Richard Gregor is an art historian, curator, and visual art critic who studied at Trnava University and Charles University in Prague. Currently the director of Bratislava Old Town Visual Art Centre, he was previously the chief curator of Nitra Gallery and Bratislava City Gallery. He has also served as a professor of art history and theory at the Academy of Art in Banská Bystrica and as a consultant on gallery issues at the Ministry of Culture of Slovak Republic.
Between 2007 and 2008 and again in 2011, Gregor was the head of the Cultural Department at Bratislava–Old Town City Council. Through his initiative, the Cyprián Majerník Gallery, originally established in 1957, reopened in 2008 as part of the Visual Art Centre. Gregor has curated more than thirty exhibitions in Slovakia and abroad, and has written numerous critical articles and studies in catalogues and books, including Slovak Painting since 1918, published on the official governmental website.
AKM Khademul Haque
AKM Khademul Haque
AKM Khademul Haque is an associate professor of Islamic art and architecture in the Department of Islamic History and Culture, University of Dhaka, Bangladesh. After completing his undergraduate and MA degrees from the same department, he joined his alma mater as a lecturer in 1999 and became an assistant professor in 2004. Haque is currently pursuing his PhD from the same institution, researching weaponry and war techniques in medieval Bengal. His interests include the development of Islamic art and architecture internationally.
In 2007, Haque received the Hamad bin Khalifa Fellowship to attend the Second Biennial Conference on Islamic Art, organized by the School of Arts, Virginia Commonwealth University in Doha, Qatar. In 2010, he received the Indranee Roy Memorial Award for presenting the best paper in the Twenty-Sixth Annual Conference of Paschimvanga Itihasa Samsad (West Bengal History Association), held at the University of Calcutta, Kolkata, India.
Musarrat Hasan
Musarrat Hasan
Musarrat Hasan received an MFA from the Punjab University Lahore, Pakistan, in 1961 and a PhD in art history in 1997. She is a professor, painter, and writer, currently also serving as a member of Provincial Assembly, the highest legislative body of Punjab. In 1972, Hasan established a department of fine arts at the Queen Mary College Lahore. To overcome the language barriers of her students, she translated into Urdu an English-language survey of prehistoric and ancient art, a book based on the college’s curriculum in fine arts.
In 1997 Hasan received her doctorate, publishing her dissertation the following year. All of her five publications since then have been an effort to compile and preserve data about contemporary art in Pakistan. She designed a course of South Asian art for PhD studies in two universities in Lahore and is currently teaching that course at the Punjab University Lahore.
Hlynur Helgason
Hlynur Helgason
Hlynur Helgason is a practicing artist and philosopher residing in Reykjavík, Iceland. He received a doctorate in media philosophy from the European Graduate School in Switzerland and currently holds the post of assistant professor in art theory at the University of Iceland, Reykjavík.
Helgason’s main topic of research is the temporality of contemporary art, drawing inspiration from the philosophy of Gilles Deleuze, Jean-François Lyotard and Michel de Certeau, among others. His current topics of study include the art of Vito Acconci, Andy Warhol, and Christian Marker, as well as the Icelandic contemporary artists Libia Castro and Ólafur Ólafsson, Níels Hafstein, and Ósk Vilhjálmsdóttir.
Bogdan Teodor Iacob
Bogdan Teodor Iacob
Bogdan Teodor Iacob is the director of the Department for Theoretical Disciplines at the University of Art and Design in Cluj–Napoca, where he teaches art history and contemporary art. Between 2008 and 2011, he served as chancellor of the university. Iacob holds a BA in art history from Babes–Bolyai University in Cluj–Napoca, Romania, and an MA in socioanthropology from the same institution.
In 2011, Iacob obtained a PhD in visual arts with the thesis “From Pathos to Cynicism: The Image of History in Modern and Contemporary Art.” Primarily concerned with contemporary artistic practices, he has lectured and published widely, including the book Offline (2010). His current focus is Romanian art criticism during the Communist era.
Peju Layiwola
Peju Layiwola
Peju Layiwola is a visual artist and art historian working in a variety of media including installation, sculpture, printmaking, and jewellery. She began her studies in the arts at the University of Benin, Nigeria, and obtained a doctorate in art history from the University of Ibadan, Nigeria. Layiwola has had several group and solo exhibitions both locally and internationally. In addition to these shows, she has held lectures and workshops in the United States, South Africa, and Austria. Her most recent traveling exhibition and edited book, Benin1897.com: Art and the Restitution Question, present an artist’s impression of the cultural rape of Benin.
Layiwola has also published widely on various aspects of the visual culture of Nigeria. She runs an active studio in Ibadan, Nigeria, as well as a Women and Youth Art empowerment initiative for community development. She is currently an associate professor and teaches art and art history at the University of Lagos, Nigeria.
Parul Dave-Mukherji
Parul Dave-Mukherji
Parul Dave-Mukherji is currently the dean at the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi. She holds a PhD in Indology from Oxford University. She is the coconvener of the Forum on Contemporary Theory and coeditor of the Journal of Contemporary Thought.
Dave-Mukherji’s publications include Towards A New Art History: Studies in Indian Art (coedited, 2003) and a special issue on Visual Culture of the Journal of Contemporary Thought, 17 (guest editor, Summer 2003). She also published Rethinking Modernity (coedited, 2005) and “Putting the World in a Book: How Global Can Art History Be Today” in J. Anderson, ed., Crossing Cultures: Conflict, Migration, and Convergence (2009). Her current research focuses on comparative aesthetics, contemporary art in India and Asia, and the impact of globalization on art theory and the discipline of art history.
Venny Nakazibwe
Venny Nakazibwe
Venny Nakazibwe is a textile designer and art historian, currently a senior lecturer and dean of the Margaret Trowell School of Industrial and Fine Arts, Makerere University, Uganda. She holds an MA in textile design and a PhD in art history. She has conducted extensive research on the history of African textiles, focusing on indigenous fabric design and decorative techniques, as well as the contemporary use of these materials in art and design practice.
Nakazibwe is the winner of the 2007 Roy Sieber Award for her outstanding PhD dissertation on bark-cloth of the Baganda of southern Uganda. She has conducted lectures, workshops, and consulting work locally and internationally on the historical and contemporary use of bark-cloth in art and design practice and on design education for creative enterprises.
Sunyoung Park
Sunyoung Park
Sunyoung Park received an MA in art theory from Seoul National University, with a thesis about Gutai art, and received an MA in art history from University College London. She is a doctorate candidate in art criticism at Hongik University in Seoul, Korea. She is currently a lecturer in art history at several universities and plays an active role as an art critic. Her scholarly interests focus on the human body expressed in different contexts and figurative or abstract representation of embodied subjectivity in the field of vision.
Trinidad Pérez
Trinidad Pérez
Trinidad Pérez is an art historian who is currently professor and researcher at FLACSO-Ecuador (Facultad Latinoamericana de Ciencias Sociales), a graduate university system for which she has designed a master of fine arts program to open next year. She has previously taught and directed the art-history program at Universidad San Francisco de Quito and designed art-history master’s programs at other local universities to help develop the field in her country.
Pérez received a BA from the University of Maryland and an MA from the University of Texas at Austin, both in art history. She holds a PhD in cultural studies from Universidad Andina Simón Bolívar in Quito. Her research and publications focus on the emergence of modern art as an institution in Ecuador: the local and international conditions that made it possible, the roll of education, theory, and institutions, and the way this art deals with national identity.
Isabel Plante
Isabel Plante
Isabel Plante is a researcher of the Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET) at the Instituto de Altos Estudios Sociales of the Universidad Nacional de San Martín (IDAES-UNSAM) in Argentina. She also teaches at the Universidad Nacional General Sarmiento (UNGS) and the Universidad Nacional de La Matanza (UNLaM). She received her PhD in art history from the School of Philosophy and Letters, Universidad de Buenos Aires.
Plante’s doctoral thesis is about to be published as Argentinos de París. Arte y viajes culturales en los años sesenta (Argentines of Paris: Art and Cultural Travel during the Sixties). Both her dissertation and current postdoctoral research focus on international art exchanges, cultural identification, and geographical migrations of artists and works of art during the 1960s between Paris and South American cities such as Buenos Aires. It is in this context that she studies this period in terms of artistic legitimization and the institutional critique of Argentine and other South American artists in France.
Ohioma Ifounu Pogoson
Ohioma Ifounu Pogoson
Ohioma Ifounu Pogoson is a senior research fellow at the Institute of African Studies, University of Ibadan, Nigeria, the same university from which he received a PhD in visual arts in 1990. He has studied the social history of Benin arts in Germany and worked with American universities on African-studies-based curricula. In 2006 he won a MacArthur Foundation grant to make a comparative study of Anglophone and Francophone museums across West Africa and Great Britain. This year he is participating in the University of Cambridge/Africa Collaborative Research Program on Art and Museums in Africa.
Pogoson curates exhibitions and writes extensively about the visual arts of southern Nigeria, particularly Yoruba and Edo arts. His more recent publications include three edited books about Dotun Okubanjo, Moyo Ogundipe, and Lamidi Fakeye. He is the consulting curator of Africa’s largest private art collection, Omooba Yemisi Adedoyin Shyllon Art Foundation (OYASAF) in Lagos, Nigeria, and honorary curator of the Museum of the Institute of African Studies.
Marina Vicelja-Matijasic
Marina Vicelja-Matijasic
Marina Vicelja-Matijasic is a professor of art history in the Faculty of Humanities and Social Sciences and the director of the Center of Iconographic Studies at the University of Rijeka in Croatia. With an undergraduate degree in art history and English language and literature from the University of Zagreb, she completed her PhD in art history in 1999 at the same university with a dissertation entitled “Byzantium and the stone sculpture in Istria – origins and influences.” Vicelja-Matijasic’s research interests include late antique and early medieval art, Christian iconography, iconology, and urban studies.
Karen von Veh
Karen von Veh
Karen von Veh is associate professor in art history and theory in the Department of Visual Arts at the University of Johannesburg. She is also the current president of SAVAH (the South African Visual Arts Historians association) and a member of ACASA and CIHA. She studied at WITS University, obtaining BA honors and master’s degrees, and received a PhD from Rhodes University. The title of her PhD thesis is “Transgressive Christian Iconography in Post-apartheid South African Art.”
Von Veh has written several articles and book chapters and delivered national and international conference papers on this and related subjects with reference to works by Diane Victor, Wim Botha, Conrad Botes, Christine Dixie, Majak Bredell, Tracey Rose, and Lawrence Lemaoana, among others. Her research interests include contemporary South African art, religious iconography, gender studies, and postcolonial studies in identity and culture.
Finalists for the 2013 Morey and Barr Awards
posted Nov 19, 2012
CAA is pleased to announce the finalists for the 2013 Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Award. The winners of both prizes, along with the recipients of ten other Awards for Distinction, will be announced in January and presented during Convocation in New York, in conjunction with the 101st Annual Conference.
The Charles Rufus Morey Book Award honors an especially distinguished book in the history of art, published in any language between September 1, 2011, and August 31, 2012. The four finalists are:
- Esra Akcan, Architecture in Translation: Germany, Turkey, and the Modern House (Durham, NC: Duke University Press, 2012)
- Mary K. Coffey, How a Revolutionary Art Became Official Culture: Murals, Museums, and the Mexican State (Durham, NC: Duke University Press, 2012)
- Cynthia Hahn, Strange Beauty: Issues in the Making and Meaning of Reliquaries, 400–circa 1204 (University Park: Pennsylvania State University Press, 2012)
- J. P. Park, Art by the Book: Painting Manuals and the Leisure Life in Late Ming China (Seattle: University of Washington Press, 2012)
The Alfred H. Barr Jr. Award for museum scholarship is presented to the author(s) of an especially distinguished catalogue in the history of art, published between September 1, 2011, and August 31, 2012, under the auspices of a museum, library, or collection. The two finalists are:
- Philipp Kaiser and Miwon Kwon, eds., Ends of the Earth: Land Art to 1974 (Los Angeles: Museum of Contemporary Art, 2012)
- Luke Syson with Larry Keith, Leonardo da Vinci: Painter at the Court of Milan (London: National Gallery, 2011)
The Barr jury has shortlisted a second Barr Award for Smaller Museums, Libraries, or Collections. The two finalists are:
- Joanne Pillsbury, Miriam Doutriaux, Reiko Ishihara-Brito, and Alexandre Tokovinine, eds., Ancient Maya Art at Dumbarton Oaks (Washington, DC: Dumbarton Oaks Research Library and Collection, 2012)
- Anne T. Woollett, Yvonne Szafran, and Alan Phenix, Drama and Devotion: Heemskerck’s “Ecce Homo” Altarpiece from Warsaw (Los Angeles: Getty Publications, 2012)
The presentation of the 2013 Awards for Distinction will take place on Wednesday evening, February 13, 5:30–7:00 PM, at the Hilton New York. The event is free and open to the public. For more information about CAA’s Awards for Distinction, please contact Lauren Stark, CAA manager of programs and archivist.