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September 2007 Caa News
NEWSLETTER OF THE COLLEGE ART ASSOCIATION VOLUME 32 NUMBER 5 SEPTEMBER 2007 CAA NEWS Cultural Heritage in Iraq SEPTEMBER 2007 CAA NEWS 2 CONTENTS FEATURES 3 Donny George Is Dallas–Fort Worth Convocation Speaker FEATURES 4 Cultural Heritage in Iraq: A Conversation with Donny George 7 Exhibitions in Dallas and Fort Worth: Kimbell Art Museum 8 Assessment in Art History 13 Art-History Survey and Art- Appreciation Courses 13 Lucy Oakley Appointed caa.reviews Editor-in-Chief 17 The Bookshelf NEW IN THE NEWS 18 Closing of CAA Department Christopher Howard 19 National Career-Development Workshops for Artists FROM THE CAA NEWS EDITOR 19 MFA and PhD Fellowships Christopher Howard is editor of CAA News. 21 Mentors Needed for Career Fair 22 Participating in Mentoring Sessions With this issue, CAA begins the not-so-long road to the next 22 Projectionists and Room Monitors Needed Annual Conference, held February 20–23, 2008, in Dallas and 24 Exhibit Your Work at the Dallas–Fort Fort Worth, Texas. The annual Conference Registration and Worth Conference Information booklet, to be mailed to you later this month, 24 Annual Conference Update contains full registration details, information on special tours, workshops, and events at area museums, Career Fair instruc- CURRENTS tions, and much more. This publication, as well as additional 26 Publications updates, will be posted to http://conference.collegeart.org/ 27 Advocacy Update 2008 in early October. Be sure to bookmark that webpage! 27 Capwiz E-Advocacy This and forthcoming issues of CAA News will also con- tain crucial conference information. On the next page, we 28 CAA News announce Donny George as our Convocation speaker. -
December 2006
Midwest Art History Society NEWSLETTERNumber 33 Fall 2006 MAHS Conference 2007, Indianapolis, Indiana, March 28-31, 2007 The Midwest Art History Society’s Following afternoon sessions at the “Ed Paschke Nonplussed: 1967- 34th annual meeting will be held Eiteljorg Museum, the conference 2004” will be on view at the March 28-31, 2007 in Indianapolis. will culminate in an exciting keynote Herron Galleries. Additional art The primary hosting institution is the event on Friday evening: a perfor- spaces around the city include Herron School of Art and Design at mance by renowned Native American the Indianapolis Museum of Indiana University-Purdue University performance artist James Luna. The Contemporary art (iMOCA), the at Indianapolis. Co-hosts for the Friday events are supported by a grant gallery districts on Massachusetts meeting are the Indianapolis Museum through the Indiana University “New Avenue and in Fountain Square, of Art and the Eiteljorg Museum of Frontiers in the Arts and Humanities” and the Indianapolis Arts Center. American Indians and Western Art. program. Registration forms and travel and All three institutions feature new facil- Indianapolis offers many attrac- lodging information are available ities built within the past two years, tions for visitors interested in the arts. in the back pages of this newsletter with expanded gallery spaces at each. Special exhibitions on view during the and online at the MAHS website. In addition to a full range of topical conference include “Maria Magdelena Proposals for papers are due by session held at the three hosting sites, Campos-Pons: Everything is December 15 to the session chairs. -
Remnant Romance-Weber and Robson Press Release
Aurora Robson Responds to Idelle Weber’s Photorealist Paintings with New Works In Exhibition that Features Both Artists’ Explorations of the Aesthetic and Material Qualities of Trash On View January 14 – February 20, 2021 Hollis Taggart is pleased to announce a two-person exhibition of work by Idelle Weber and Aurora Robson. Remnant Romance, Environmental Works: Idelle Weber and Aurora Robson will feature oil paintings and watercolors by Weber (1932-2020) alongside new multimedia sculptural work by Robson (b. 1972), who studied the late artist’s work while creating new pieces for the exhibition. Remnant Romance will create a dialogue between the artists, who, despite working in different media and being part of distinct generations, both draw inspiration from trash and seek to find beauty in the remnants of other peoples’ lives. Remnant Romance, Environmental Works: Idelle Weber and Aurora Robson will be on view at Hollis Taggart at 521 West 26th Street from January 14 through February 20, 2021. Idelle Weber is perhaps most well known for her contribution to Pop Art and her famous silhouette paintings, in which she depicted anonymous figures doing quotidian activities against nondescript backgrounds. In the late 1960s, continuing to find inspiration in the everyday but shifting in style to photorealism, Weber turned her attention to overlooked common daily sights in New York City such as fruit stands and street litter. The artist’s photorealist paintings were a continuation of the consumerism reflected in her Pop Art works, and were exhibited more widely. Over the past decade, however, Weber’s Pop Art has received more attention, largely due to curator Sid Sach’s inclusion of her silhouette paintings in his Beyond the Surface and Seductive Subversion exhibitions in 2010. -
Pop Culture and Art
Colorado Teacher-Authored Instructional Unit Sample Visual Arts 6th Grade Unit Title: Pop Culture and Art INSTRUCTIONAL UNIT AUTHORS Pueblo County School District Amie Holmberg Brenna Reedy Colorado State University Patrick Fahey, PhD BASED ON A CURRICULUM OVERVIEW SAMPLE AUTHORED BY Denver School District Capucine Chapman Fountain School District Sean Norman Colorado’s District Sample Curriculum Project This unit was authored by a team of Colorado educators. The template provided one example of unit design that enabled teacher- authors to organize possible learning experiences, resources, differentiation, and assessments. The unit is intended to support teachers, schools, and districts as they make their own local decisions around the best instructional plans and practices for all students. DATE POSTED: MARCH 31, 2014 Colorado Teacher-Authored Sample Instructional Unit Content Area Visual Arts Grade Level 6th Grade Course Name/Course Code Sixth Grade Visual Arts Standard Grade Level Expectations (GLE) GLE Code 1. Observe and Learn to 1. The characteristics and expressive features of art and design are used in unique ways to respond to two- and VA09-GR.6-S.1-GLE.1 Comprehend three-dimensional art 2. Art created across time and cultures can exhibit stylistic differences and commonalities VA09-GR.6-S.1-GLE.2 3. Specific art vocabulary is used to describe, analyze, and interpret works of art VA09-GR.6-S.1-GLE.3 2. Envision and Critique to 1. Visual symbols and metaphors can be used to create visual expression VA09-GR.6-S.2-GLE.1 Reflect 2. Key concepts, issues, and themes connect the visual arts to other disciplines such as the humanities, sciences, VA09-GR.6-S.2-GLE.1 mathematics, social studies, and technology 3. -
CHANGING the EQUATION ARTTABLE CHANGING the EQUATION WOMEN’S LEADERSHIP in the VISUAL ARTS | 1980 – 2005 Contents
CHANGING THE EQUATION ARTTABLE CHANGING THE EQUATION WOMEN’S LEADERSHIP IN THE VISUAL ARTS | 1980 – 2005 Contents 6 Acknowledgments 7 Preface Linda Nochlin This publication is a project of the New York Communications Committee. 8 Statement Lila Harnett Copyright ©2005 by ArtTable, Inc. 9 Statement All rights reserved. No part of this publication may be reproduced or transmitted Diane B. Frankel by any means, electronic or mechanical, including photocopying, recording, or information retrieval system, without written permission from the publisher. 11 Setting the Stage Published by ArtTable, Inc. Judith K. Brodsky Barbara Cavaliere, Managing Editor Renée Skuba, Designer Paul J. Weinstein Quality Printing, Inc., NY, Printer 29 “Those Fantastic Visionaries” Eleanor Munro ArtTable, Inc. 37 Highlights: 1980–2005 270 Lafayette Street, Suite 608 New York, NY 10012 Tel: (212) 343-1430 [email protected] www.arttable.org 94 Selection of Books HE WOMEN OF ARTTABLE ARE CELEBRATING a joyous twenty-fifth anniversary Acknowledgments Preface together. Together, the members can look back on years of consistent progress HE INITIAL IMPETUS FOR THIS BOOK was ArtTable’s 25th Anniversary. The approaching milestone set T and achievement, gained through the cooperative efforts of all of them. The us to thinking about the organization’s history. Was there a story to tell beyond the mere fact of organization started with twelve members in 1980, after the Women’s Art Movement had Tsustaining a quarter of a century, a story beyond survival and self-congratulation? As we rifled already achieved certain successes, mainly in the realm of women artists, who were through old files and forgotten photographs, recalling the organization’s twenty-five years of professional showing more widely and effectively, and in that of feminist art historians, who had networking and the remarkable women involved in it, a larger picture emerged. -
Hollis Taggart Will Represent Leading Pop Artist Idelle Weber Gallery Will
Hollis Taggart will Represent Leading Pop Artist Idelle Weber Gallery will Open Exhibition of Weber’s Work on November 8, 2018 New York, NY—October 16, 2018—Hollis Taggart announced today that the gallery will begin formally representing Idelle Weber, a major figure in the Pop Art movement, but one whose work deserves greater recognition. The gallery has had a multi-year relationship with Weber, beginning with its 2013 exhibition Idelle Weber: The Pop Years. Organized by the gallery, that 2013 show helped bring Weber back into the forefront of contemporary thinking about mid-century women artists—and led to the acquisition of a major Weber works, including the painting Munchkins I, II, & III (1964) by the Chrysler Museum of Art in 2013, and the Jump Rope (1967–1968) wall sculpture, by the Los Angeles County Museum of Art (LACMA) in 2016. In conjunction with this new relationship, Hollis Taggart will present an exhibition of Weber’s work this fall, the gallery’s third show in its new, street-level space on West 26th Street. Opening November 8, 2018, the exhibition will focus on Weber’s work from the 1960s, with a few earlier and later works as well. The exhibition, titled Idelle Weber: Postures and Profiles from the 50s and 60s, will feature more than 30 works, including Lucite cube sculptures, collages, and gouache and tempera on paper works. These works address some of the themes that occupied and inspired Weber throughout her career, including the corporate world, fashion, politics, and women in society. “Idelle Weber is one of the pioneering artists of the Pop Art movement whose work deserves to be more widely known and better understood, and this show takes strong steps in both directions,” said Hollis Taggart, the gallery’s founder. -
Artforum.Com / Scene & Herd
artforum.com / scene & herd 16/3/26 下午3:28 login register ADVERTISE BACK ISSUES CONTACT US SUBSCRIBE search ARTGUIDE IN PRINT 500 WORDS PREVIEWS BOOKFORUM A & E DIARY PICKS NEWS VIDEO FILM PASSAGES SLANT SCENE & HERD Pay It Forward links RECENT ARCHIVE DUBAI 03.23.16 Kate Sutton at the 10th Art Dubai and Global Art Forum Cristina Sanchez- Kozyreva at the 4th Art Fair Philippines Alex Jovanovich on Genesis Breyer P- Orridge’s retrospective at the Rubin Museum Linda Yablonsky at Independent and Philippe Parreno at Gladstone Linda Yablonsky around Armory Arts Week Dawn Chan at the 35th ARCO fair in Madrid Left: Patron Abdelmonem Alserkal with Alserkal Avenue director Vilma Jurkute. Right: MoMA Director Glen Lowry, patron Alia Al Senussi, and HH Sheikh Zayed bin Sultan bin Khalifa Al Nahyan. (All photos: Kate Sutton) “SO, WHO DID YOU VOTE FOR?” The question may be inescapable on social media, but I wasn’t prepared to hear it from the gate agent of my Doha-Dubai shuttle. Not sure how my response might impact my boarding (can you even “Feel the Bern” in Arabic?) I went with the best answer for these troubled times: “Not Trump?” The fact that an airport attendant in Qatar would be so keyed to the US primaries—something that, at least up until this year, most Americans couldn’t care less about—is a powerful reminder that the future at stake come November doesn’t just belong to America. This collective fate was mapped out in the tenth installment of the Global Art Forum, which launched last Wednesday from a tent outside Art Dubai, which opened a day earlier. -
Performing Photographs: Memory, History, and Display Melanie A
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2008 Performing photographs: memory, history, and display Melanie A. Kitchens Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Communication Commons Recommended Citation Kitchens, Melanie A., "Performing photographs: memory, history, and display" (2008). LSU Doctoral Dissertations. 797. https://digitalcommons.lsu.edu/gradschool_dissertations/797 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. PERFORMING PHOTOGRAPHS: MEMORY, HISTORY, AND DISPLAY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Communication Studies By Melanie A. Kitchens B.A., Georgia Southern University, 2001 M.A., Louisiana State University, 2004 December 2008 ACKNOWLEDGEMENTS First, I would like to extend many thanks to my dissertation committee for your continued support and encouragement throughout my academic career at LSU and beyond. I feel blessed to have been able to learn from each of you. Trish Suchy, for always probing me to articulate my argument. Tracy Stephenson Shaffer, for showing and teaching me how to have a voice. Michael Bowman, your brilliance never ceases to amaze and delight me. Thank you for your insight and honesty. And to Ruth Bowman, my friend and mentor, without you this dissertation would not be what it is today, neither would I. -
Annual Year Dates Theme Painting Acquired Artists Exhbited Curator Location Media Used Misc
Annual Year Dates Theme Painting acquired Artists Exhbited Curator Location Media Used Misc. Notes 1st 1911 Paintings by French and American Artists Loaned by Robert C Ogden of New York 2nd 1912 (1913 by LS) Paintings by French and American Artists Loaned by Robert C Ogden of New York 3rd 1913 (1914 by LS) 1914/ (1915 from Lake Bennet, Alaska, Louise Jordan 4th Alaskan Landscapes by Leonard Davis Leonard Davis Purchase made possible by the admission fees to 4th annual LS) M1915.1 Smith Fifth Exhbition Oil Paintings at Randolph-Macon Groge Bellows, Louis Betts, Irving E. Couse, Bruce Crane, Frank V. DuMonds, Ben Foster, Daniel Garber, Lillian Woman's College: Paintings by Contemporary Matilde Genth, Edmund Greacen, Haley Lever, Robert Henri, Clara MacChesney, William Ritschel, Walter Elmer March 9- 5th 1916 American Artists, Loaned by the National Art Club Schofield, Henry B. Snell, Gardner Symons, Douglas Folk, Guy C. Wiggins, Frederick J. Waugh, Frederick Ballard Loaned by the National Arts Club of New York from their permanent collection by Life Members. April 8 of New York from Their Permanent Collection by Williams Life Members Exhibition by:Jules Guerin, Childe Hassam, Robert Louise Jordan From catalogue: "Randolph-Macon feels that its annual Exhibition forms a valuable part of the cultural opportunities of college 6th 1917 March 2-28 Jules Guerin, Childe Hassam, Robert Henri, J. Alden Weir Henri, J. Alden Weir Smith life." Juliu Paul Junghanns, Sir Alfred East, Henri Martin, Jacques Emile Blanche, Emond Aman-Jean, Ludwig Dill, Louise Jordan 7th 1918 International Exhbition George Sauter, George Spencer Watson, Charles Cottet, Gaston LaTouche, S.J. -
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Vol. 1 No. 3 r r l S J L f J C L f f C t J I Winter/Spring 1977 AT LONG LAST —An historical view of art made by women by Miriam Schapiro page 4 DIALOGUES WITH NANCY SPERO by Carol De Pasquale page 8 THE SISTER CHAPEL —A traveling homage to heroines by Gloria Feman Orenstein page 12 'Women Artists: 1550— 1950’ ARTEMISIA GENTILESCHI — Her life in art, part II by Barbara Cavaliere page 22 THE WOMEN ARTISTS’ MOVEMENT —An Assessment Interviews with June Blum, Mary Ann Gillies, Lucy Lippard, Pat Mainardi, Linda Nochlin, Ce Roser, Miriam Schapiro, Jackie Skiles, Nancy Spero, and Michelle Stuart page 26 THE VIEW FROM SONOMA by Lawrence Alloway page 40 The Sister Chapel GALLERY REVIEWS page 41 REPORTS ‘Realists Choose Realists’ and the Douglass College Library Program page 51 WOMANART MAGAZINE is published quarterly by Womanart Enterprises, 161 Prospect Park West, Brooklyn, New York 11215. Editorial submissions and all inquiries should be sent to: P. O. Box 3358, Grand Central Station, New York, N.Y. 10017. Subscription rate: $5.00 for one year. All opinions expressed are those o f the authors, and do not necessarily reflect those o f the editors. This publication is on file with the International Women’s History Archive, Special Collections Library, Northwestern University, Evanston, IL 60201. Permission to reprint must be secured in writing from the publishers. Copyright © Artemisia Gentileschi- Fame' Womanart Enterprises, 1977. A ll rights reserved. AT LONG LAST AN HISTORICAL VIEW OF ART MADE BY WOMEN by Miriam Schapiro Giovanna Garzoni, Still Life with Birds and Fruit, ca. -
Using Educational Learning Models to Inform and Guide the Design of a Virtual
Using Educational Learning Models to Inform and Guide the Design of a Virtual Learning Environment A Thesis Submitted to the Faculty of Drexel University by Monique Woodard in partial fulfillment of the requirements for the degree of Master of Science in Digital Media August 2018 c Copyright 2018 Monique Woodard. All Rights Reserved. ii Dedications This thesis is dedicated to my grandmother, Dorothy Woodard, whose advice, support, and encouragement has lead me to places farther than I ever imagined. iii Acknowledgments I would like to thank my advisor Glen Muschio, and my committee members, Aroutis Foster and Delia Solomons, for their constructive feedback and guidance throughout this project. I would also like to give special thanks to my friends and family for their endless support and encouragement. iv Table of Contents List of Figures .......................................... v Abstract .............................................. vi 1. Introduction .......................................... 1 1.1 Introduction.......................................... 1 1.2 Pop Art, Women, Sex, and Domesticity .......................... 5 1.3 Research Statement ..................................... 6 2. Gallery Labels and Literature Review ......................... 7 2.1 Gallery Labels ........................................ 7 2.2 Learning Environments ................................... 15 2.3 Literature Review ...................................... 16 3. Methodology .......................................... 18 3.1 Design............................................ -
Portraits” Proof
Vol. 2 No. 1 wdmaqartrrVlliftAIIUA l Fall 1977 OUT OF THE MAINSTREAM Two artists' attitudes about survival outside of New York City by Janet Heit page 4 19th CENTURY AMERICAN PRINTMAKERS A neglected group of women is revealed to have filled roles from colorist to Currier & Ives mainstay by Ann-Sargent Wooster page 6 INTERVIEW WITH BETTY PARSONS The septuagenarian artist and dealer speaks frankly about her relationship to the art world, its women, and the abstract expressionists by Helene Aylon .............................................................................. pag e 10 19th c. Printmakers MARIA VAN OOSTERWUCK This 17th century Dutch flower painter was commissioned and revered by the courts of Europe, but has since been forgotten by Rosa Lindenburg ........................................................................pag e ^ 6 STRANGERS WHEN WE MEET A 'how-to' portrait book reveals societal attitudes toward women by Lawrence A llo w a y ..................................................................... pag e 21 GALLERY REVIEWS ............................................................................page 22 EVA HESSE Combined review of Lucy Lippard's book and a recent retrospective exhibition by Jill Dunbar ...................................................................................p a g e 33 REPORTS Artists Support Women's Rights Day Activities, Bridgeport Artists' Studio—The Factory ........................................ p a g e 34 Betty Parsons W OMAN* ART*WORLD News items of interest page 35 Cover: Betty Parsons. Photo by Alexander Liberman. WOMANARTMAGAZINE is published quarterly by Womanart Enterprises. 161 Prospect.Park West, Brooklyn. New York 11215. Editorial submissions and all inquiries should be sent to: P.O. Box 3358, Grand Central Station. New York. N.Y. 10017. Subscription rate: $5.00 fo r one year. Application to mail at second class postage rates pending in Brooklyn. N. Y.