College Art Association Research Articles

College Art Association of America grants for book publishing

College Art Association of America grants for book publishing

The Blindness Series and Experimental Media Art of the 1990s

Abstract At the March 2022 College Art Association’s meeting, a roundtable convened by Liz Kim discussed the topic: Intersectionality and the Video Art of Asian American Women Artists. Kim-Trang T. Tran’s video kore (1994), part of her Blindness Series, was one of the featured works. The Blindness Series, consisting of eight short-format experimental videos, focused on physical blindness and its metaphors to address intersectional issues of race, gender, and sexuality. While the specific topics and approaches of the videos in the series were products of their time, revisiting them today, we can see that contemporary concerns were already reflected in Asian American women artists’ works from the 1990s.

College Art Association of America grants for book publishing

Corporate Philanthropy ReportVolume 38, Issue 7 p. 13-13 Grant Alerts College Art Association of America grants for book publishing First published: 12 June 2023 https://doi.org/10.1002/cprt.31658Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL No abstract is available for this article. Volume38, Issue7July 2023Pages 13-13 RelatedInformation

Freemasonry and the Visual Arts from the Eighteenth Century Forward: Historical and Global Perspectives ed. by Reva Wolf and Alisa Luxenberg

Reviewed by: Freemasonry and the Visual Arts from the Eighteenth Century Forward: Historical and Global Perspectives ed. by Reva Wolf and Alisa Luxenberg Denise Amy Baxter Reva Wolf and Alisa Luxenberg, eds., Freemasonry and the Visual Arts from the Eighteenth Century Forward: Historical and Global Perspectives (New York: Bloomsbury Visual Arts, 2020). Pp. 286; 16 color and 106 b/w illus. $150.00 cloth; $35.95 paper. Despite a wonderful collection of essays on the subject by scholars such as Margaret C. Jacob, Janet M. Burke, and Robert Beachy published in the Winter 2000 issue of this journal, Freemasonry does still mystify, if not historians, then art historians, or, at least many of them, or maybe just me.1 Yet, I contend that this is not surprising. Freemasonry is chronologically, geographically, and organizationally diffuse, with individual orders and rites and lodges, and it is, explicitly, secretive. Nonetheless, Freemasonry surrounds us on a daily basis. Even if with our increasingly cashless society I less frequently encounter the all-seeing eye of the national seal on the one-dollar bill, I pass both a Masonic Lodge and a billboard for Scottish Rite for Children Orthopedic Hospital on my daily commute. And it is exactly these historical though contemporary, completely encompassing visual and material aspects of Freemasonry that is the topic of Freemasonry and the Visual Arts from the Eighteenth Century Forward: Historical and Global Perspectives. The scope of this fascinating volume, ably brought together by art historians Reva Wolf and Alisa Luxenberg, is simply the "centrality of the arts to the history of Freemasonry, and conversely, Freemasonry's significance for the history of art from the 1720s forward" (1). After reading the volume's essays you may well also experience the Baader-Meinhof phenomenon, or frequency bias, and see Masonic imagery and influence everywhere you look. But, in this case, it really was already there. The introductory chapter, co-authored by Wolf and Luxenberg, points to the volume's overarching goal of the "Mystery of Masonry Brought to Light," whetting the reader's suspicions that indeed we are, and have been, surrounded by Masonic imagery in media ranging from architecture to porcelain, city planning to paintings, and in sites starting in the early eighteenth century, such as the Grand Lodge of England, to contemporary Haitian Vodou visual and material culture. In addition to the case studies, the editors have generously provided the reader with an extended bibliography of the kind so frequently missing in anthologies. The [End Page 327] volume's essays were sourced from a College Art Association session chaired by Reva Wolf in 2016 and a set of three sessions on Freemasonry and the Visual Arts at the Second World Conference on Fraternalism, Freemasonry, and History in 2017 at the Bibliothèque Nationale de France. It would appear that the combination of sources contributed to the disciplinary and geographic range of the authors. The scope of the volume is ambitious, especially its additional claim of not only a historical but a global perspective. That said, it is important to note that the contributions are explicitly the particular interests of the authors; they are selected case studies. The volume does not comprise chapters commissioned to cover the entire scope of the relationship between Freemasonry and the visual arts, nor, as these selections indicate, could any single volume contain that totality. Organized chronologically, five of the eleven case studies are situated in the long (and broad) eighteenth century, and it is these on which I focus. In the first of these, art historian David Martín López asks the question of what would change if we were to posit that noted Portuguese Enlightenment politician, Sebastião José de Carvalho e Melo, Marquis of Pombal and Count of Oeiras, was a Freemason? How would this alter our interpretations of the Marquis of Pombal and, more discretely, how would his architectural projects in Lisbon following the devastation of the 1755 earthquake be alternatively understood through this lens, and, conversely, how might an analysis of the architecture and urban planning spearheaded by the Marquis of Pombal provide evidence for his affiliation with Freemasonry? Biographical evidence, including the Marquis of Pombal's friendship with known...

ПРО 111 ЩОРІЧНУ МІЖНАРОДНУ КОНФЕРЕНЦІЮ ДОСЛІДНИКІВ ІСТОРІЇ МИСТЕЦТВА

The review is dedicated to covering the program and topics of the Annual scientific conference of the College Art Association (САА), which took place in New York in February 2023. This conference is one of the most important scientific events in the fields of academic art history, history and theory of design, visual culture studies, museology, and curatorial practices. The program of the 2023 conference demonstrated that art historians strive to expand methodological approaches and build research in intermedial and transcultural perspectives, while artists and designers aim to meet the current challenges of the epoch and the needs of society.

Trans visibility and trans viability: a Roundtable

This Roundtable is crafted from the online event held on Saturday 20 November 2021 on Trans Visual Cultures. That event was organized to celebrate the recently published themed issue of Journal of Visual Culture on new work in transgender art and visual cultures, guest edited by Cyle Metzger and Kirstin Ringelberg, and suggested for the journal by Jill H Casid. The themed issue emerged from a session run at the College Art Association in New York, 2018, programmed by Metzger and Ringelberg. For the event in November 2021, some of the contributors to the journal’s themed issue (Kara Carmack, Sascha Crasnow, Stamatina Gregory, Cyle Metzger and Kirstin Ringelberg) were joined by interlocutor Jill Casid, and respondent Jack Halberstam to share their thoughts on trans visual culture/s now, and to consider what it is to write trans visual culture, as well as to live in relation to transness. The event happened to fall on Transgender Day of Remembrance. Given the fraught or ambivalent feelings that many have about such a day, the event was also taken as an occasion to talk about ways of untethering trans visibility from what is lethal to trans viability. After the event, the organizers solicited a few additional reflections on concerns that emerged – in particular around matters of the visual, trans visibility, and lived experience. These are brought together to act as a refractive prism for what happens when we center thinking seriously with the implications and potentials of trans art and visual culture for trans hopes and fears, kinship and community, lives and loves. The publication of this Roundtable takes the themed issue as a crucial springboard for critical, transversal trans* imaginings of the variant worlds to be unfolded by undoing the lock of the gender binary and its settler colonial and white supremacist violences, and to further the demand that thinking with trans alters substantially the ways we approach the visual.

Editorial Commentary

Editorial Commentary

Editorial Introduction

Editorial Introduction

College Art Association of America grants for book publishing

College Art Association of America grants for book publishing

Editorial Introduction

Editorial Introduction

Florence, Berlin and Beyond: Late nineteenth-century art markets and their social networks

In recent years, studies in the history of collecting have seen a shift away from the monographic towards an investigation of social and professional networks. Born from a double session at the 2018 College Art Association conference, with further invited contributions, this weighty volume takes the networks of Berlin art historian Wilhelm von Bode and Florentine art dealer Stefano Bardini as its point of departure. As complex connections are teased out in fourteen case-studies presenting meticulous archival research, the provenances of the works of art under discussion are revealed to be ‘anything but linear’, as editor Lynn Catterson puts it at the outset. This volume is, in many ways, an ode to Bode, who was less prominent in Catterson’s previous volume for Brill (Dealing Art on Both Sides of the Atlantic, 1860–1940, 2017). As Fulvia Zaninelli notes, to study Bode is to study dealers. Detailed analysis of Bode’s correspondence forms the backbone of many of these discussions, which trace works of art from post-unification Italy to their final resting places around the world. Jeremy Howard’s presentation of Isabella Stewart Gardner’s purchase of Botticelli’s Chigi Madonna includes a timely aside on contemporary debates around art patrimony, which complicates the backdrop against which many of these transactions take place.

Review: Greater American Camera: Making Modernism in Mexico, by Monica Bravo

Review: <i>Greater American Camera: Making Modernism in Mexico</i>, by Monica Bravo

Editorial Commentary

Editorial Commentary

College Art Association of America grants for book publishing

Corporate Philanthropy ReportVolume 36, Issue 7 p. 13-13 Grant Alerts College Art Association of America grants for book publishing First published: 10 June 2021 https://doi.org/10.1002/cprt.30982Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat No abstract is available for this article. Volume36, Issue7July 2021Pages 13-13 RelatedInformation

Introduction: ‘Historic libraries and the historiography of art’: articles arising from sessions held at the 107th College Art Association Annual Conference, New York, 13-16 February 2019, and the 108th College Art Association Annual Conference, Chicago, 12-15 February 2020

Introduction: ‘Historic libraries and the historiography of art’: articles arising from sessions held at the 107th College Art Association Annual Conference, New York, 13-16 February 2019, and the 108th College Art Association Annual Conference, Chicago, 12-15 February 2020

It’s About Time

The price of textbooks and other learning materials hinder students’ ability to pursue higher education. Open educational resources (OER) provide one answer to this problem. Though well established in STEM disciplines, OER are less common in art history and other arts courses. The College Art Association (CAA) and the Art Libraries Society of North America (ARLIS/NA) hosted panels on OER at their 2019 annual conferences. This article summarizes those panels and analyzes the speakers’ experiences within the context of OER initiatives in higher education.[This article is an expansion of conference sessions at the College Art Association conference held in New York, New York, in February 2019, and the ARLIS/NA conference held in Salt Lake City, Utah, March 2019.]

Critical Making

Through a project-based critical making in design analysis of two jewelry publications (Lapidary Journal and Metalsmith), the way artistic communities seek to promote creative achievement and a sharing of knowledge is revealed. The observations detailed through this project show how content and design of industry publications reinforce differences in communities and perceived artistic success between academic and mass market production. To discern how print publications of the late twentieth century have either reinforced or attempted to circumvent these interpretations, this study investigates how content and visual imagery are used in these periodicals. The author reviews publications from the year 2000, categorizes each page by content into categories, and identifies key design strategies. The results of the study indicate a high level of artist/maker feature articles in Metalsmith and a high level of advertising and technical information in Lapidary Journal. Decisions are made as to what strategies should prevail when seeking to archive important information at the cross section of these two communities.[This article is a revision of a paper presented at the College Art Association conference session “10th Critical Craft Forum: Craft Scholarship in the Next Ten Years,” held in New York, New York, in February 2019.]

¡Adelante! Reflections and Aspirations on the First Anniversary of LALVC

We take this opportunity to reflect on the first year of publishing LALVC , plan for the future, and thank all of the contributors, peer reviewers, editorial board members, subscribers, and other supporters. The enthusiasm for LALVC 's content, as revealed by submissions, subscriptions, mentions on

Review: Who’s In and Who’s Out of Fashion (Studies)?

Despite its relatively recent growth, the field of fashion studies is already known for its many transformations. This year’s College Art Association of America (CAA) Annual Conference featured an exciting new panel on the interdisciplinary nature of dress, entitled Who’s In and Who’s Out of Fashion (Studies)? Chaired by Sarah Scaturro, chief conservator at the Cleveland Museum of Art, and Ann Tartsinis, doctoral student at Stanford University’s Department of Art &amp; Art History, the session addressed the question “Is there a correct or wrong way to do fashion studies?” and aimed to explore what is traditionally defined as “fashion studies” within the discipline. This panel review includes an introduction to the development of the field of fashion and dress, an overview of the topics and case studies presented during the session, and a question and answer session with the Co-Chairs of the panel.

Mary Sheriff and ASECS

Mary Sheriff and ASECS Jennifer Germann (bio) and Michael Yonan (bio) Mary D. Sheriff (1950-2016) was well-known to the ASECS community. Perhaps her most prominent role in the organization was as co-editor of this journal, a responsibility she shared with James Thompson between 1993 and 1998. Some may remember the brilliant Clifford lecture she delivered at the 2009 annual conference in Richmond, Virginia, a version of which was later published in Studies in Eighteenth-Century Culture.1 These highlights were only part of her longtime participation in ASECS, a history that dates back to the late 1970s. Mary also produced numerous doctoral students in her role as Kenan Distinguished Professor of Art History at the University of North Carolina at Chapel Hill. Many of her students are now regulars at ASECS and their number includes the two of us. But Mary's legacy with ASECS is more than just that of an enthusiastic participant. It is a special relationship indeed, one that has important implications for the development of eighteenth-century art history in the United States and that requires explanation in order for its full significance to be understood. Colleagues in the other disciplines represented at ASECS—Literary Studies, History, and Philosophy especially—are often surprised to learn that Art History traditionally hasn't had much to say about eighteenth-century art. Prior to the 1970s, the subject was mostly ignored at American universities, with few art historians willing to confess an interest in its visual culture. English-language scholarship remained surprisingly sparse even into the 1980s, certainly when compared to the flood of scholarship on Renaissance and modern art. The reasons for this imbalance are complex. Art History has tended to privilege art that reflects straightforwardly [End Page 151] the social characteristics of its historical moment. It also has a predilection for celebrating art that offers observers profound psychological revelations in aesthetic form. These are qualities that can be assigned to a few eighteenth-century artists, David and Goya notably, but it is difficult to characterize much eighteenth-century art in such terms. The foundational methodological approaches of art history predisposed art historians to find eighteenth-century art lacking. This was especially so for rococo art, as Dena Goodman and Melissa Hyde discuss in their contributions to this forum. The seductive surfaces of rococo painting, its playful subject matter, its delight in whimsy and surprise, and what many critics saw as its femininity, made it a hard sell to scholars trained to regard Michelangelo and Picasso as the pinnacles of Western artistic achievement. Much the same could be said of pastels, Enlightenment religious imagery, and late Revolutionary history paintings, the subjects of the essays by Kathleen Nicholson, Christopher Johns, and Tili Boon Cuillé respectively. Mary Sheriff recognized the potential of ASECS to build the field of eighteenth-century art history in North America. She was not alone in this, for sure; she belonged to the pioneer generation of art historians (many still active in ASECS's conferences) who understood the organization's potential to enliven this underdeveloped area of art history. Yet Mary was among its most enthusiastic champions. She loved eighteenth-century art and was unafraid to say so. In a late-career essay she remarked that some of its imagery is so beautiful that it can move you to tears.2 But she also saw in this beautiful art the potential for major disciplinary revision, a golden opportunity to knock down old assumptions about what makes art important and to build a more diverse and vibrant art history. It was not through the College Art Association, the major American venue for art-historical scholarship, that such revision would be possible, since too many old biases lingered there. That's where ASECS entered the picture. At its conferences she and her cohort found a community of scholars from other fields who valued the period and wished to see sophisticated thinking brought to its art. They began to propose papers, chair panels, and otherwise create a community of scholars who took eighteenth-century art seriously. And since ASECS is an interdisciplinary organization, the cross-pollination of ideas across disciplinary boundaries became an essential quality of...