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The Publication Marked the Twentieth Anniversary of The Estera Milman iNTER/aRTS - Home http://milman-interarts.com/ Buster Cleveland, Paste-ups for NYCS Weekly Breeder, n.d. The publication marked the twentieth anniversary of the Alternative Traditions in the Contemporary Arts (ATCA) project and accompanied four exhibitions of works drawn from the ATCA collection: Alice Hutchins: Arenas for Happenings, Artfacts of the Eternal Network, Ken Friedman: Art[net]worker Extra-Ordinaire, and Latin American Realities/International Solutions. Funded, in part, by the National Endowment for the Arts. “This publication is offered in opposition to current attempts to revise our cultural canons within the boundaries imposed by unitary, universalist historiographic models.” - The Pew Center for Arts and Heritage 1 Estera Milman [email protected] www.milman-interarts.com PROGRAM AND COLLECTION DEVELOPMENT Director Contemporary, Stephen Foster Fine Arts, 2004 to the Present. Founding Director, Alternative Traditions in the Contemporary Arts (ATCA), 1982 through 2004. Composed of artifacts, performance relics and archival material of the post-World War II avant-garde, ATCA attained an international reputation as both a groundbreaking repository for contemporary artworks and a research program. Funded, in part, by a series of grants from Federal and State agencies, the project successfully generated a host of acclaimed topical workshops, exhibitions, publications and interdisciplinary symposia. Charter Member Conceptual and Intermedia Arts Online (CIAO) and Project Leader, CIAO Fund-raising Subcommittee, 1997-2000. Participants in the CIAO consortium included Alternative Traditions in the Contemporary Arts/The University of Iowa, Berkeley Art Museum/The University of California, The Hood Museum of Art/Dartmouth College, the Getty Institute for the History of Art and the Humanities, Franklin Furnace (New York), the National Gallery of Canada, the Tate Gallery (London), and the Walker Art Center. Co-Founder, Associate Director and Faculty Fellow, Program for Modern Studies, 1988-97. Established in 1988 as an umbrella for The University of Iowa’s Fine Arts Dada Archive and Alternative Traditions in the Contemporary Arts, the Program concurrently consolidated cross-disciplinary course offerings under the topical clusters "Art and Revolution," "Modernism and Historical Self-Consciousness,” "The Crisis of Myth and the Secularization of World Views," "Community and the Arts," "Modernism and Politics of Place," "Contestation and Contemporary Art History," among others. Program Coordinator, Participating Scholar, The Fine Arts Dada Archive and Research Center , 1982- 1988. The project houses one of the country's most extensive photodocumentary archives of avant-garde visual works of the World War I era and has attained international visibility through its publication program, symposia, and cross- disciplinary collaborative research initiatives. TEACHING, RESEARCH AND CURATORIAL APPOINTMENTS 2003: Distinguished Visiting Scholar, The History of Art, Connecticut College. 2001: Visiting Curator, The Mary and Leigh Block Museum of Art, Northwestern University. 1995-2001: Curator of the Intermedia Arts, The University of Iowa Museum of Art. 1997-99: Teaching Affiliate, Interdisciplinary Arts, The University of Iowa School of Music. 1990-97: Adjunct Associate Professor, The History of Art, The University of Iowa School of Art and Art History. 1992: Visiting Curator, Franklin Furnace, New York City. 1990; Visiting Curator, Des Moines Art Center. 1987-1990: Adjunct Assistant Professor, The History of Art, The University of Iowa School of Art and Art History. 1988: Visiting Curator, Taipei Fine Arts Museum, The Republic of China. 1988: Visiting Curator, Visual Studies Workshop, Rochester, New York. 1980-82: Adjunct Assistant Professor of Photography, The University of Iowa Division of Continuing Education. PROFESSIONAL SERVICE Member, Advisory Board, Franklin Furnace, New York City, 2004. Member, Advisory Board, Visible Language, Rhode Island School of Design, 1992 to the present. Member, Capital Campaign Steering Committee, ISAAC Charter School, New London, CT, 2003. Member, Review Committee, Lyman Allyn Art Museum, New London, 2003. Project Leader, Fund-raising Subcommittee, Conceptual and Intermedia Arts Online Consortium 1997-2000. Member, The University of Iowa Council on the Status of Women (CSW) and of the CSW Affirmative Action Subcommittee, 1997-2000. Member, Graduate Faculty, The University of Iowa, 1991- 1998. Member, Governing Committees, Program for Modern Studies (1988 to 1997) and Dada Archive and Research Center (1982- 1988). Reviewer, John Simon Guggenheim Memorial Foundation, 1994. Member, Art History Curriculum Faculty Sub-committee, The University of Iowa, 1992-1994. Member, Governing Committee, "The Artist and Television, A Time/Life Affiliated Interactive Teleconference, 1982. AWARDS AND GRANTS NO!art and the Aesthetics of Doom, funded by the National Endowment for the Arts and the Cultural Affairs Council, 2001, Project Director. Selections from the Alternative Traditions in the Contemporary Arts Collection, funded by the National Endowment for the Arts, 2001, Project Director. Conceptual and Intermedia Arts Online, funded through the Berkeley Museum of Art by the National Endowment for the Arts, 1997, Project Co-Director. Oberman Fellowship, 1992 Faculty Research Seminar, "The Image in Dispute: Visual Cultures in Modernity," The University of Iowa Center for Advanced Studies and Institute for Cinema and Culture, Faculty Scholar. Fluxus: A Conceptual Country, funded through Franklin Furnace Archive, Inc. by the National Endowment for the Arts, the New York State Council on the Arts, and Harper/Collins Publishers, 1992, Project Director. Metamorphosis of the Avant-garde Artist and Author, 1908-1939: Social Roles and Cultural Consequences, funded by the National Endowment for the Humanities, 1991, Co-Organizer. Art Networks and Information Systems, funded by the National Endowment for the Arts, 1989, Co-Director. The Avant-garde and the Text, funded, in part, by the New York State Council on the Arts, 1988, Co-Organizer. Fluxus: A Workshop Series, funded by the National Endowment for the Arts, 1984, Project Director. HIGHER EDUCATION M.F.A., 1980, The University of Iowa Photography/Photomedia, Historical Criticism and Theory B.F.A., 1970 Rhode Island School of Design Painting/Printmaking, Film EXHIBITIONS Leo Jensen: Total Pop Art. A Retrospective Exhibition. Amarillo Museum of Art. October 9, 2010 – January 2, 2011. Dalia Ramanauskas: Playing Reality. Amarillo Museum of Art. October 9, 2010 – January 2, 2011. NO!art and the Aesthetics of Doom. Mary and Leigh Block Museum of Art, Northwestern University. November 2001. Selected by The Chicago Tribune as representative of the antithesis of “comfort art” in the immediate post 9/11 Chicago artworld and described by the Chicago Reader as “one of the best [Chicago area] exhibits of 2001,” the exhibition was the first North American retrospective of works by this mid- twentieth century collective of artists and poets. Participants in NO! responded to the aftermath of the Holocaust and Hiroshima. the atomic crisis, and the mass media’s commodification of women while concurrently providing an important link among Action Painting, Assemblage, Environments, Happenings, and Pop Art. The exhibition opened at the Mary and Leigh Block Museum of Art, Northwestern University, in November, 2001, and traveled to The University of Iowa Museum of Art. Funded by the National Endowment for the Arts. Ken Friedman: Art[net]worker Extra-Ordinaire. The University of Iowa Museum of Art, 2000. Funded by the National Endowment for the Arts. New Acquisitions: Selections from the Estate of Lil Picard. The University of Iowa Museum of Art, 1999--2000. Latin American Realities/International Solutions. A virtual exhibition on the World Wide Web http://sdrc.lib.uiowa.edu/cayc/, 1999. the exhibition is linked to the Conceptual and Intermedia Arts Online consortium and thus accessible through the University of California Berkeley, the Walker Art Center, the Getty Institute, Franklin Furnace Archive, Dartmouth College, the Tate Gallery and the National Gallery of Canada. A cross-section of the exhibition was installed in the University of Iowa Museum of Art Galleries in March of 2000 and then traveled to the Sheldon Memorial Art Gallery in Lincoln, Nebraska. Funded by two concurrent National Endowment for the Arts grants. Boris Lurie: Knives in Cement and Other Selected Constructions. The University of Iowa Museum of Art, 1999. The Artists' Poster Committee: A Decade of Political Art. The University of Iowa Museum of Art, 1999. Alice Hutchins: Arenas for Happenings. The University of Iowa Museum of Art, 1998. Funded by the National Endowment for the Arts. Artifacts of the Eternal Network. Encompassing well over three hundred correspondence works, the exhibition celebrates ongoing contemporary avant-garde processes of culturing. Artifacts of the Eternal Network was the first of four exhibitions sponsored by the National Endowment for the Arts that were composed of selected works from the Alternative Traditions in the Contemporary Arts Collection. The University of Iowa Museum of Art, 1997. Allan Kaprow: Inventions/Reinventions. An exhibition composed of two distinct segments: Photo-texts, Recipes and Documents and Course/Re-Course: Iowa City, 1969- 1996. The latter -- an environment realized while the artist was in residence in Iowa City as an Ida Beam Visiting Professor
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