To learn more about submitting a listing, please see the instructions on the main Member News page.
Melissa Potter. Zvono Gallery, Belgrade, Serbia, November 15–27, 2010. New Works by Melissa Potter. Painting, photography, video, and print-on-demand book.
Dahlia Elsayed. Aljira, a Center for Contemporary Art, Newark, New Jersey, October 28, 2010–January 8, 2011. … And Then Some. Painting.
Dennis Farber. Pinkard Gallery, Bunting Center, Maryland Institute College of Art, Baltimore, Maryland, January 28–March 13, 2011. Mixed media.
Joseph Lewis III. Meyerhoff Gallery, Fox Building, Maryland Institute College of Art, Baltimore, Maryland, December 9, 2010–January 9, 2011. THE WORD. Digital prints.
Kathleen Vaccaro. Draw the Line Gallery, Doylestown, Pennsylvania, November 5–29, 2010. Winter Nostalgia. Painting.
Rachel Epp Buller. Balcony Gallery, CityArts, Wichita, Kansas, December 5–30, 2010. Stories: Monoprints and More. Monoprints, woodblock prints, and handmade books.
Alison Crocetta. Alice F. and Harris K. Weston Art Gallery, Aronoff Center for the Arts, Cincinnati, Ohio, June 17–August 28, 2010. Moving Images by Alison Crocetta. Film and video.
Marcia Freedman. Western Illinois University Art Gallery, Macomb, Illinois, October 26–November 18, 2010. Marcia Freedman: Inside/Outside. Painting and drawing.
Megan Geckler. Wexner Center for the Arts, University of Ohio, Columbus, Ohio. November 9, 2010–January 2, 2011. Spread the ashes of the colors. Environmental sculpture.
Jennifer Palmer. Foundry Art Centre, St. Charles, Missouri, December 10, 2010–January 14, 2011. Asleep and Dreaming. Painting and drawing.
Joy Garnett. Winkleman Gallery, New York, October 15–November 13, 2010. Boom & Bust. Painting.
Pamela Pecchio. Daniel Cooney Fine Art Gallery, New York, January 6–February 12, 2011. On Longing, Distance and Heavy Metal. Photography.
Mary Ting. Lambent Foundation, New York. October 10–December 23, 2010. Insomnia and Other Stories. Drawing, printmaking, photography, video, and sculptural installation.
Sharon Lee Hart. Tinney Contemporary Gallery, Nashville, Tennessee, December 4–23, 2010. Sanctuary. Photography.
Marcus Kenney. Marcia Wood Gallery, Atlanta, Georgia, November 18, 2010–January 1, 2011. Romance 2020. Mixed-media painting and sculpture.
Marcus Kenney. Masur Museum of Art, Monroe, Louisiana, November 4, 2010–January 22, 2011. Marcus Kenney: Almanac 2020. Mixed-media painting and sculpture.
Conrad Ross. Tennessee Valley Museum of Art, Tuscumbia, Alabama, September 12–November 12, 2010. China on My Mind. Mixed-media painting, intaglio, woodcut, relief, and collé.
Linda Stein. Neil Britton Art Gallery, Virginia Wesleyan College, Norfolk, Virginia, January 5–February 16, 2011. The Fluidity of Gender: Sculpture by Linda Stein. Sculpture.
Andrea Kirsh, an independent scholar and curator, is CAA vice president for external affairs. In summer 2010, she and Linda Downs, CAA executive director, held meetings with leaders from art schools and departments in New York and Philadelphia.
Linda Downs and I had a great opportunity to learn more about the membership and its needs by talking with a number of department chairs and deans in New York this summer, despite the 95-degree heat, and then during torrential storms in Philadelphia (my home) in the fall. We wanted to let them know about the upcoming Centennial conference and, in particular, the opportunities for students. Such prospects include free Wi-Fi at the Students and Emerging Professionals Lounge, which will be open throughout the conference and doesn’t require a badge. If students can’t afford the $120 discounted fee to register for the entire conference, they can attend on a session pass and participate in numerous free events, such as Convocation, sessions planned especially for the Centennial, and all ARTspace events, including the Annual Artists’ Interviews. They can volunteer as room monitors in exchange for conference registration.
Mostly we visited with colleagues to listen. We asked what they thought CAA has been doing right, and how we might better serve their needs. We learned a lot. What struck me was the range of comments and the variety of useful suggestions. Nancy Barton, chair of the Art and Art Education Department at New York University (NYU), told us about her school’s program in Ghana, which made us realize that CAA’s revived International Committee should include artists as well as art historians. Downs and I then met with Pepe Karmel and Kathryn Smith, the outgoing and incoming chairs of NYU’s Art History Department. They teach undergraduates only, so we discussed ways the CAA conference might give their students taste of graduate school and professional life, as well as a chance to network.
David Rhodes, president of School of Visual Arts, opened our visit by vigorously accusing CAA of favoring art historians over artists on the issue of orphan works and opposing droit moral for artists. We let him know that CAA doesn’t favor either side on orphan works: the organization supports potential users making a serious search for copyright holders and, failing that, publishing the works and then paying copyright holders if they turn up. And we’ve never opposed droit moral. Rhodes’s major request of CAA was help in organizing foundations courses, which always receive the lowest ratings. We’ll bring the issue to the Education Committee, which regularly presents conference sessions on pedagogy, and will also consider it as a subject for the practical publications that CAA hopes to produce.
The issue of advocacy came up again during our visit with Patricia Rubin, director of NYU’s Institute of Fine Arts; the topic was the cost of reproduction rights. Rubin came to the institute from England, where several major museums recently eliminated charges for scholarly use of images. Downs told her that she regularly attends the American Association of Museum Directors’ meetings and works the crowd on the issue, but it could use help from a more concerted group of organizations.
In Philadelphia we began at the University of Pennsylvania, whose faculty has been very involved with CAA. Holly Pittman, chair of the Department of the History of Art, was pleased that I’d be addressing Penn graduate students about the upcoming conference during a departmental colloquium. At University of the Arts, Joe Girandola, director of the MFA programs in ceramics, painting, and sculpture, was enthusiastic about the value of CAA conferences and suggested that his school organize a group to attend the New York meeting in February. His colleague, Susan Viguers, director of the MFA program in book arts, thought CAA didn’t do enough for artists; however she hadn’t attended recent conferences and had no idea about ARTspace activities. She also didn’t realize that this year all of CAA’s Professional-Development Fellowships were targeted at artists because of their greater funding needs.
Stephen Levine, chair of art history at Bryn Mawr College, told us about calling CAA in the past to request demographic information about the field to use in hiring discussions. He said more such information would be useful, and also hoped CAA might help schools reach minority candidates whose work spans fields (archaeology, anthropology, history, and area studies) and who might not be alert to possibilities in art history. He further expressed the desire that CAA develop standards so that schools do not require letters of recommendation before candidates are shortlisted.
Timothy Rubb, director of the Philadelphia Museum of Art, was emphatic that the most important thing CAA could do for museums was to circulate the word that art-history departments are not turning out sufficient students in areas such as East Asian and ancient Near Eastern art to fill curatorial positions. He also hoped CAA might address guidelines for museum-studies programs, as his institution finds that graduates of current programs have neither useful skills nor realistic expectations.
Gerald Silk, chair of the Art History Department at Temple University’s Tyler School of Art, gave us a tour of his school’s new facilities and showed us a number of studios. We were able to talk with artists and art historians who work together successfully, asking them to suggest ways CAA might build on the presence of both groups at the Annual Conference. They suggested that art historians might want to join artists in participating in critiques. Hester Stinnett, printmaker and a Tyler vice dean, thought we should consider themed conferences, so that one meeting was distinguished from another. We liked the idea and said that the upcoming Centennial conference in New York was built around a series of interdisciplinary sessions chaired by pairs of scholars from different fields, and that the Los Angeles conference in 2012 was addressing art of the Pacific Rim. Stinnett also suggested, based on her experience with a recent graphics conference, that students preferred informal events away from the conference center to the usual formal sessions. While CAA always offers many offsite events at conferences, it will be a challenge to organize a conference for five thousand attendees if that cohort continues to prefer dispersed events.
Log into your CAA account with your User ID# and password. Then click the Vote Now image at the center of the screen to begin the process. If you are already logged in, click the Home link at left, and then the Vote Now image.
You may vote for up to four candidates, including one write-in candidate, who will serve four-year terms on the board. Ballots that indicate more than four candidates will be void. The election ends at 5:30 PM (EST) on Friday, February 11, 2011.
CAA encourages you to attend the Annual Members’ Business Meeting at the 2011 Annual Conference in New York. If you cannot, please check the box appointing a proxy. By doing so, you appoint the CAA board officers named thereon—Barbara Nesin, Andrea Kirsh, Maria Ann Conelli, Sue Gollifer, Anne Goodyear, and DeWitt Godfrey—to vote, in their discretion, on such matters as may properly come before such a meeting.
A quorum of one hundred members is needed to hold the meeting; therefore CAA requests your proxy to ensure that it can take place. Please send your proxy by 5:30 PM (EST) on Friday, February 11, 2011.
If you use a non-Intel Mac that runs Tiger OS X 10.4, you will not see a Submit or Save button at the bottom of the voting form. To vote, please log into your CAA account on an Intel Mac or a PC.
To learn more about submitting a listing, please see the the instructions on main Member News page.
Anthony Cutler, the Evan Pugh Professor of Art History at Pennsylvania State University in University Park, has been selected by the University of Oxford in England to hold the Slade Professorship of Fine Art for 2011–12, in association with All Souls College. Cutler will present eight lectures and four seminars during Oxford’s Hilary Term, January to March 2012.
Beauvais Lyons, professor of art at the University of Tennessee in Knoxville, has been awarded a James R. Cox Professorship from 2010 to 2013. The Cox professorships honor faculty members who are outstanding teachers, who dedicate their service to the University, community, and their profession, and who model excellence in scholarship.
Bissera Pentcheva has been promoted to associate professor with tenure in the Department of Art and Art History at Stanford University in Palo Alto, California.
Aram Moshayedi, a doctoral candidate in the Department of Art History at the University of Southern California in Los Angeles, has been appointed assistant curator at the Gallery at REDCAT, also in Los Angeles.
Klaus Ottmann, formerly Robert Lehman Curator at the Parrish Art Museum in Southampton, New York, has become the first curator at large at the Phillips Collection in Washington, DC. He will manage the Phillips Collection Center for the Study of Modern Art.
Sandra Sider, an independent curator and critic based in New York, has been appointed president of Studio Art Quilt Associates, an international arts organization with headquarters in Storrs, Connecticut. She will serve in this capacity until 2013.
Columbus College of Art and Design in Columbus, Ohio, has established a new master of fine arts, called New Projects. The terminal-degree program prepares professional artists to become creative leaders in the community and world at large through a multidisciplinary coursework with an entrepreneurial emphasis. Students complete four semester-long projects that they propose, develop, and execute, culminating in a senior thesis with oral defense.
The Department of Art and Art Professions in the Steinhardt School of Culture, Education, and Human Development’s at New York University offers opportunities for undergraduate studio-art majors to live and work for a semester in Global ArtSites in Berlin, Germany, and Accra, Ghana. In addition, MFA students may participate in a Paris–New York studio exchange for a year and take classes in Berlin, London, and Venice, and in India, during calendar year 2011.
The Maryland Institute College of Art in Baltimore has opened its new Office of Community Engagement, which will assess, strengthen, and coordinate the college’s academically based community partnerships. The college has a strong history of engaging academic and community partners—locally and globally—and the new office will provide oversight to existing initiatives on campus, develop and coordinate new programs, facilitate collaboration with external partners, and provide visibility and support for community engagement and service-learning initiatives that advance the mission of the college.
The Rhode Island School of Design in Providence has announced two new graduate programs: a master of arts in interior architecture, a one-year program; and a master of design in interior studies (adaptive reuse), a two-year degree. Combining elements of architecture, conservation, and design, the degrees offer studies in history, theory, materials, and technology, among other areas.
The Yale Center for British Art in New Haven, Connecticut, has received two awards from the American Association of Museums in its 2009 Museum Publications Design Competition. The center’s Calendar of Events series won second prize, and the Mrs. Delany’s Flowers gallery guide received an honorable mention.
James Cahill, professor emeritus at the University of California in Berkeley, has been awarded the Charles Lang Freer Medal by the Smithsonian Institution’s Freer Gallery of Art and Arthur M. Sackler Gallery. The medal recognizes Cahill’s lifetime of contributions to the history of Chinese and Japanese art.
Henry Drewal, the Evjue-Bascom Professor of African and African Diaspora Arts at the University of Wisconsin in Madison, has been awarded a senior fellowship at the Institute for Research in the Humanities at his school. During the four-year appointment he will research and write a book on art and the senses.
Nancy Feldman has received the 2010 Founding Presidents Award from the Textile Society of America for “Shipibo Textile Practices 1950–2010,” a paper written with Claire Odland and presented at the society’s twelfth biennial symposium in October.
Ruth Fine, curator of special projects in modern art at the National Gallery of Art in Washington, DC, has been honored for curatorial excellence by the Print Center in Philadelphia, Pennsylvania. The November 2010 celebration was the first of five annual events leading to the center’s one-hundredth anniversary in 2015.
Hal Foster, the Townsend Martin ’17 Professor of Art and Archaeology at Princeton University in Princeton, New Jersey, has received the 2010 Clark Prize for Excellence in Arts Writing by the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts. Established in 2006 and awarded every two years, the Clark Prize recognizes individuals whose critical or art-historical writing has had a significant impact on public understanding and appreciation of the visual arts.
Beili Liu, an artist based in Austin, Texas, has received third place in the 2010 ArtPrize, an annual competition established last year, for her installation Lure/Wave, Grand Rapids at the Urban Institute of Contemporary Arts in Grand Rapids, Michigan. Her award includes a $50,000 prize.
Jules Prown, the Paul Mellon Professor Emeritus of the History of Art at Yale University in New Haven, Connecticut, has been recognized by the Bookbuilders of Boston for his book, The Architecture of the Yale Center for British Art (New Haven: Yale Center for British Art, 2009). The title won Best of Category in Professional Illustrated Books at the fifty-third annual New England Book Show, which recognizes outstanding work by New England publishers, printers, and graphic designers.
Shelley Rice, Arts Professor in the Department of Art History and in Department of Photography and Imaging at the Tisch School of the Arts, both at New York University, has been named a Chevalier of the Order of Arts and Letters by the French government.
Alicia Weisberg-Roberts, assistant curator of eighteenth- and nineteenth-century art at the Walters Art Museum in Baltimore, Maryland, has received the thirtieth annual George Wittenborn Memorial Book Award from the Art Libraries Society of North America for Mrs. Delany and Her Circle (New Haven: Yale University Press, 2009), an exhibition catalogue coedited with Mark Laird.
The Creative Capital | Warhol Foundation Arts Writers Grant Program has announced the recipients of its 2010 grant cycle. Among the winners are these CAA members and their projects: Douglas Crimp, for his book Before Pictures; Clare Davies, for short-form writing; Matthew Jesse Jackson, for his blog Our Literal Speed; Raphael Rubinstein, for his blog The Silo; Irene Small, for her book Hélio Oiticica: Folding the Frame; and Sandra Zalman, for her article “Whose Modern Art? Huntington Hartford, MoMA, and the Fight for Modern Art’s Legacy.” Participating in the program’s 2010 Writing Workshop, which pairs a practicing writer with an established critic through the International Association of Art Critics/USA Section, are Colin Edgington of New Brunswick, New Jersey, and Christina Schmid of Minneapolis, Minnesota.
The National Academy Museum and School in New York has elected eighteen American artists and architects as members of the 185-year-old institution. Two are CAA members: Garth Evans, an abstract sculptor; and Nancy Friese, a landscape painter and printmaker.
The Skowhegan School of Painting and Sculpture, a nine-week summer-residency program for emerging visual artists in Skowhegan, Maine, hosted the following CAA members in 2010: Yui Kugimiya, for video and film; Anna Chiaretta Lavatelli, for installation; Abraham Storer, for painting; and Cullen Washington Jr., for drawing.
The Sterling and Francine Clark Art Institute in Williamstown, Massachusetts, has named its 2010–11 fellows. Among the recipients are these CAA members: Adrienne Childs, University of Maryland, College Park; Dario Gamboni, Université de Genève; Michèle Hannoosh, University of Michigan, Ann Arbor; Mark Ledbury, Power Institute, University of Sydney; Griselda Pollock, University of Leeds; Susan Siegfried, University of Michigan, Ann Arbor; and Adrian Sudhalter, independent scholar.
Scott Allan and Mary Morton. The Spectacular Art of Jean-Léon Gérôme. J. Paul Getty Museum, Los Angeles, California, June 15–September 12, 2010.
Leslie K. Brown. Traces: Daniel Ranalli, Cape Work 1987–2007. Provincetown Art Association and Museum, Provincetown, Massachusetts, October 15, 2010–January 16, 2011.
Rachel Epp Buller. Mothers. Woman Made Gallery, Chicago, Illinois. November 5–December 23, 2010.
Dina Deitsch. Southern Exposure: Artadia Awardees 2009 Atlanta. Mills Gallery, Boston Center for the Arts, Boston, Massachusetts, November 19, 2010–January 2, 2011.
Ann Lane Hedlund. A Turning Point: Navajo Weaving in the Late Twentieth Century. Cooper Gallery, Morrill Hall, University of Nebraska State Museum, Lincoln, Nebraska, October 1–November 30, 2010.
Robyn G. Peterson. Eye for an Eye: Photographs of Modern Artists by Modern Artists from the Collection of John W. Green. Yellowstone Art Museum, Billings, Montana, October 7, 2010–January 9, 2011.
Valerie Steele. Japan Fashion Now. Museum at FIT, Fashion Institute of Technology, State University of New York, New York, September 17, 2010–April 2, 2011.
Margaret Rose Vendryes. Richmond Barthé: The Seeker. Ohr-O’Keefe Museum of Art, Biloxi, Mississippi, November 6, 2010–June 12, 2011.
Publishing a book is a major milestone for artists and scholars. Browse a list of recent titles below.
Scott Allan and Mary Morton, eds. Reconsidering Gérôme (Los Angeles: J. Paul Getty Museum, 2010).
Diane E. Booton. Manuscripts, Market, and the Transition to Print in Late Medieval Brittany (Burlington, VT: Ashgate, 2010).
Blake de Maria. Becoming Venetian: Immigrants and the Arts in Early Modern Venice (New Haven, CT: Yale University Press, 2010).
Henry John Drewal. Dynasty and Divinity: Ife Art in Ancient Nigeria (Long Island City, NY: Museum for African Art, 2009).
Ann Lane Hedlund. Gloria F. Ross and Modern Tapestry (New Haven, CT: Yale University Press, in association with the Arizona State Museum, University of Arizona, 2010).
Andreas Luescher. The Architect’s Portfolio: Planning, Design, Production (New York: Routledge, 2010).
Pamela Pecchio. 509 (Carrboro, NC: Daniel 13 Press, 2010).
Valerie Steele, with Patricia Mears, Yuniya Kawamura, and Hiroshi Narumi. Japan Fashion Now (New Haven, CT: Yale University Press, in association with the Museum at the Fashion Institute of Technology, 2010).
Michael Yonan. Empress Maria Theresa and the Politics of Habsburg Imperial Art (University Park: Pennsylvania State University Press, 2011).
CAA’s two Directories of Graduate Programs in the Arts, covering MA, MFA, and PhD programs in art and art history, are now on sale: $15 for CAA members and $20 for nonmembers, plus $4 shipping.
Published in late 2008 and early 2009, the directories remain the most comprehensive resources available for prospective graduate students in the visual arts, listing hundreds of programs in the United States, Canada, the United Kingdom, Australia, New Zealand, and elsewhere worldwide. CAA will introduce revised, online versions of the directories in fall 2011, with a price to be determined.
The directories come in two volumes, each sold separately: Graduate Programs in Art History includes art history, visual studies, museum studies, curatorial studies, arts administration, and library science; and Graduate Programs in the Visual Arts comprises studio art, graphic design, applied arts and design, film production, art education, and conservation. An index lists schools alphabetically and by state and country for quick reference. An introductory essay presents a detailed description of the elements of a program entry, including explanations of the various kinds of programs and degrees offered, helping place your search and selection process in context.
CAA accepts online purchases from individuals only. If you are ordering on behalf of a school, department, library, museum, or other institution, please download and complete this form and submit it via mail or fax to: CAA, 275 Seventh Ave., 18th Floor, New York, NY 10001; 212-627-2381.
Updated on February 23, 2011.