Edian the Journal for the New Media Caucus of the College Art Association

Affiliated Order News shares the new and exciting things CAA's affiliated organizations are working on including activities, awards, publications, conferences, and exhibitions.

We're seeking new organizations to join CAA'south Affiliated Societies. C lick here to learn more than.

New Media Caucus

Media-N: Journal of the New Media Caucus

Recent Publication Vol 15 No i (2019): Democratic Art Systems

https://iopn.library.illinois.edu/journals/median/outcome/view/seven

For this issue, invitee editors Nick Bontrager and Adam Fung invited submissions about the apply of "Autonomous Fine art Systems." Submissions included piece of work on tethered and untethered systems of making, autonomous vehicles, and related programming in creative fields of study. Relevant subjects included: artworks that address concepts of drones or surveillance as subject or form; the influence of emerging technologies on studio art practices; or critical/historical analysis of the entanglement of art and technology.

NMC Events at CAA, 2019
two/13/19, x:30 PM-12:00 PM, New York Hilton Midtown, Rendezvous Trianon, NMC Panel: Reframing Innovation: Art, the Maker Movement and Critique, chairs: Victoria Bradbury Suzy O'Hara
two/xiii/19, 12:xxx PM-1:30 PM, New York Hilton Midtown – 2d Flooring – Sutton North, NMC Business Meeting: open to members and non-members alike.
2/xiii/xix, 2:00 PM-3:thirty PM, Media Lounge, Data Détournement, organized past Derek Curry (Northeastern University) and Jennifer Gradecki (Northeastern Academy).

2/14/xix, ii:00 PM-3:30 PM, Media Lounge, Digital Art and Activism, organized by Morehshin Allahyari and Angela Washko (Assistant Professor of Art, Carnegie Mellon University)

2/14/19, 8:00 PM-nine:30 PM, Hunter College MFA Building, 205 Hudson Street, New York, NY 10013, NMC Fellow member Showcase, hosted by Christina Freeman, Department of Art & Art History, Hunter College of the City University of New York

2/15/19, 2:00 PM-three:30 PM, Media Lounge, Proficient Artists Torrent, Keen Artists Fork, organized by Nick Bontrager (Texas Christian Academy) and Taylor Hokanson (Columbia Higher Chicago)

For more information on the to a higher place, and information on boosted panels involving NMC members, consult the following list: http://world wide web.newmediacaucus.org/caa-2019-in-nyc/

Edge Control

The New Media Caucus proudly announces the 2019 Symposium and Exhibition,Border Control, at the University of Michigan, Penny W. Stamps School of Art and Design and the Stamps Gallery.

SYMPOSIUM + EXHIBITION

SUBMISSIONS Accepted THROUGH FEB. 28, 2019

Hosted by the University of Michigan, Penny West. Stamps School of Art and Design and the Stamps Gallery. Ann Arbor, MI

EXHIBITION DATES: SYMPOSIUM DATES:
ix/20/19 – 11/10/19 9/19/19 – nine/22/nineteen

Guest CURATOR:
Allison Collins, Media Arts Curator, Western Forepart

Borders and boundaries, both tangible and ephemeral, are closely tied to the means in which humanity has made sense of the world and of our historical place in it. Still historically, borders have figured as sources of tension and contestation as much as legibility and certainty. In our current moment, the promise of reassurance offered past borders and boundaries is being radically undermined and challenged by processes such as climate change, rapid techno-scientific development, and the unraveling of traditional hierarchies and stereotypes, too as of accustomed notions of demographic, political and economical boundaries.

How do you navigate borders in your own practice or research?

The New Media Caucus seeks to bring together artists and scholars who critically engage the topic of borders and boundaries through their practice and research.

http://bordercontrol.newmediacaucus.org

International Sculpture Center

Sculpture has launched a newly redesigned magazine with our Jan/Feb 2019 issue! Subscribe to Sculpture and follow us for more updates.

Carmine Grooms & Seward Johnson will be awarded with the 2019 Lifetime Achievement Honor on Apr xviii, 2018 at a Gala in NYC.

The Call For Panels is now open up for the 29th International Sculpture Conference – the borderline to apply is March 14.

The ISC invites you to nominate up to 3 talented sculpture students for the Outstanding Educatee Achievement in Gimmicky Sculpture! Head to our link now and bring together every bit an ISC University level member to become started

Students who are interested should talk to their professors about getting involved. To find out more about the program please visit the website http://www.sculpture.org/StudentAwards/2019 or email studentawards@sculpture.org

FATE

FATE (Foundations in Art: Theory and Educational activity) News: http://www.foundations-fine art.org/

Join u.s.a. during CAA 2019 for FATE's Chapter session, "Get Upward, Stand up: Contingent Faculty and the Time to come of Higher Education in the Visual Arts," Friday, Feb 15, 2019, from 6 – vii:30pm in the Bryant Suite at the New York Hilton Midtown. Chaired by Naomi J. Falk and Richard Moninski, with panelists Christopher Williams, Mark Stemwedel, and Laura Rodman Huaracha. Increasingly, tenure-rails positions disappear, contingent kinesthesia numbers swell, and those who are left standing teach more than classes. Is this sustainable and how do we support each other? https://caa.confex.com/caa/2019/meetingapp.cgi/Session/2304

Annals for FATE'south 17th Biennial Conference, "Foundations in Flux," volition exist hosted past Columbus College of Art & Designin Columbus, Ohio on April quaternary-6th, 2019. Registration includes Breakfast & Lunch for each day of the conference. https://www.foundations-art.org/conference

Foundations in Flux volition host various workshops led by FATE members during the conference on Friday April 5th. Workshop sessions have limited numbers of seats & participants must register in advance, there are NO Additional FEES to participate in these workshops. All workshops will exist held on the campus of CCAD. All seats are on a first-come footing and some workshops will crave materials to be supplied by the attendee. Please read all workshop details below earlier making your selection(s). For more than info and to annals: https://docs.google.com/forms/d/e/1FAIpQLSdKwlrpTANzrgZICqL0LzyvG8Qwc3x_yw4ABLo2z7zu3dvDUw/viewform

Positive Infinite is FATE'south bi-monthly podcast providing opportunities for those passionate about art foundations to discuss and promote excellence in the development and instruction of college level foundations in art & design studio and history classes. To bank check out the latest episode, featuring FATE President, Valerie Hanks, discussing her recent workshop near discomfort and empathy in the classroom, visit: https://www.foundations-fine art.org/positive-infinite

If you lot take podcast ideas, contact us! Positive Space has a phone number: 904-990-FATE.Give united states of america a call & tape a message today!

American Institute for Conservation

Delight bring together us at the 2019 AIC Annual Meeting being held at the Mohegan Dominicus, located in Uncasville, CT, May xiii-17. With over 1,400 attendees, the AIC Annual Meeting is the largest international conservation and drove care conference held in North America. Visit our Annual Meeting webpages to see the online schedule and learn well-nigh the nearly 200 talks and events. Some highlights of the 2019 meeting include a new Opening General Session featuring TED-style talks, hundreds of specialty talks, and engaging dejeuner programing.

The Mohegan Sun, centrally located in New England, offers a four-star quality hotel experience at a depression nightly rate of $139 for AIC Annual Coming together attendees. We also have a block of student rooms starting at $98 per dark. Getting to the Mohegan Sun is easy. Those located between Washington DC and Boston can drive or take Amtrak. AIC is also running directly buses from New York City and Boston. For more information on our host hotel, view the accommodations pages.

The proximity to major Eastward declension cites allows AIC to offer workshop and tours all over New England during our pre-session, May 13-14. Visit the online schedule to view our pre-session offerings.

We welcome you to register now for the 2019 AIC Almanac Coming together!

Visual Resources Association (VRA)

Tools and Trends in Visual Resources

The Visual Resources Association is using a scheduled business meeting at the annual College Art Association conference to share information about some of the tools that curators are using to raise and manage digital paradigm collections and discuss new trends in the field of visual resources and art librarianship.

Iii speakers volition be presenting their piece of work in these areas:

Cataloging at Artstor : A New Look at Tried and Truthful (and some AI) Strategies
Lisa Gavell, Senior Manager of Image Content at Artstor

Maximizing Metadata: VRA Embedded Metadata Tools
Marcia Focht, Curator of Visual Resources at Binghamton University

Images every bit Research Data
Jasmine Burns, Visual Resources Metadata Librarian at Cornell Academy and Chair of the Upstate New York Affiliate of VRA.

Please join united states of america for provocative presentations with time for questions and discussion on Friday, February 15^th, 2019, in the Morgan Suite at the New York Hilton Midtown, from 12:30 to 1:30 pm.

This event is free and open to the public, and then you do not demand to be a CAA member or to register for the conference to attend this business meeting. If you wish to attend regular sessions, the volume and trade fair, or other CAA briefing activities, you must register. Accelerate registration for the total conference ends on Jan 30^th, 2019 (merely iii days left), but single timeslot and day passes may be purchased onsite (not available in advance).

For questions, please contact:

Maureen Burns, IMAGinED Consulting & VRA CAA Affiliate Representative
moaburns@gmail.com or 310-489-3792

SECAC

The Telephone call for Papers for SECAC 2019 in Chattanooga is open at https://secac.secure-platform.com/a/solicitations/home/5.

SECAC 2018: 74^th Almanac Conference

In Oct, SECAC met for the 74^th time in Birmingham, Alabama, hosted by the University of Alabama at Birmingham. Over 120 sessions were held, and 561 members representing 284 institutions attended. In its eighth year, participation in the SECAC mentoring programme remained high with 40 members meeting equally mentors and mentees.

Highlights of the briefing included the SECAC 2018 Almanac Juried Exhibition at UAB's Abroms-Engel Found for Visual Arts and a keynote address at the Birmingham Museum of Andrew Freear of the Rural Studio.

At the almanac business concern meeting SECAC President Sandra Reed of Marshall University introduced new members of the Board of Directors: Alabama, Wendy DesChene, Auburn University; Florida, Jeff Schwartz, Ringling College of Fine art and Pattern; Kentucky, Eileen Yanoviak, Carnegie Centre for Fine art and History; Louisiana, Jill Chancey, Nicholls State Univeristy (continuing); N Carolina, Kathryn Shields, Guilford College; and At Large #3 Claire Kovacs, Augustana College.

SECAC 2019 will be hosted by the Academy of Tennessee at Chattanooga, Oct 16-19. Calls for presentations, juried exhibition entries, and award applications will be published on the SECAC submissions site at https://secac.secure-platform.com/a in early 2018.

AWARDS PRESENTED AT SECAC 2018

The SECAC Artist's Fellowship, a $v,000 prize, was awarded to photographer Karen Graffeo, Professor of Art at the University of Montevallo, author and photojournalist Julio Larramendi, photographer and editor at Ediciones Polymita in Cuba, lensman Sonja Rieger, Professor of Photography at the Academy of Alabama at Birmingham, and Alabama-based photographer and filmmaker Carolyn Sherer. Their proposed exhibition, My Other Body: Trans-Civilisation, Transgender Cuba/Alabama, volition be on view at SECAC 2019 in Chattanooga, Tennessee.

Andrew Wasserman, Visiting Assistant Professor at the Academy of North Carolina at Greensboro, won the 2018 Levin Honor for his project Bang! We're All Dead! The Places of Nuclear Fear in 1980s America.

The 2018 SECAC Laurels for Excellence in Teaching was presented to Wendy DesChene, Professor of Art at Auburn Academy.

The 2018 SECAC Award for Excellence in Scholarly Research and Publication was awarded to Olga U. Herrera, Director of the Washington Office of the Inter-Academy Plan for Latino Research (IUPLR) headquartered at the University of Houston, for American Interventions and Mod Art in South America, University Press of Florida, 2017.

The 2018 SECAC Laurels for Outstanding Exhibition and Catalog of Historical Materials was presented to Keri Watson for In the Optics of the Hungry: Florida's Changing Landscape, exhibited at the UCF Fine art Gallery and the Terrence Gallery at the Orlando Metropolis Hall in 2017.

The 2018 SECAC Award for Outstanding Exhibition and Catalog of Contemporary Materials was given to Vesna Pavlović, Associate Professor of Fine art at Vanderbilt University, for the exhibition Vesna Pavlović's Lost Art and its catalog edited by Pavlović and Morna O'Neill.

Thirty-iv graduate students received Gulnar Bosch Travel Awards: Virginia Badgett, University of California, Santa Barbara; Gráinne Coughlan, Dublin Found of Technology; Stephanie Crawford, Rutgers University; Erin Davenport, University of North Carolina at Chapel Colina; Julia Detchon, Academy of Texas; Parissa Farmoudehyamcheh, Georgia Southern Academy; Dilmar Mauricio Gamero Santos, Tyler School of Art, Temple Academy; Elyse D. Gerstenecker, University of Virginia; Caroline Gillaspie, The Graduate Centre, CUNY; Amy Catherine Hulshoff, Academy of New Mexico; Manami Ishimura, Texas A&Grand Corpus Christi; Ally Johnson, University of Illinois at Urbana-Champaign; Tacie Jones, Virginia Tech University; Holly Kelly, University of Tennessee, Knoxville; Sharon Khalifa-Gueta, Ben Gurion University of the Negev; Patricia Lagarde, Tulane University; Mia Laufer, Washington University in St. Louis; Kimiko Matsumura, Rutgers University; Mary Mazurek, IDSVA ; Reed O'Mara, Instance Western Reserve University; Ellie Perendy, Baruch College; Kathleen Pierce, Rutgers University; Catherine Popovici, The University of Texas at Austin; Ali Printz, Tyler School of Art, Temple Academy; Lily F. Scott, Temple University; Roberta Serra, Université Paul Valéry; Lauren Elizabeth Shea, Academy of Illinois at Urbana-Champaign; Jeff Siemers, IDSVA; Lauryn Smith, Case Western Reserve University; Tracy Spencer Stonestreet, Virginia Commonwealth University; Sarah Tietje-Mietz, Syracuse University; Vanessa South. Troiano, The Graduate Middle, CUNY; Angela Whitlock, IDSVA; and Hayley Woodward, Tulane University.

Juror Peter Baldaia, Manager of Curatorial Affairs at the Huntsville Museum of Art, selected Over There To Here (Gatlinburg), 2018, by Stacy Isenberger, University of Idaho, equally All-time in Show at the SECAC 2018 Annual Juried Exhibition. He as well recognized v participants with Juror Awards: Joshua Brinlee, University of Mississippi, for Self-Portrait as Provider, 2017; Lily Kuonen, Jacksonville Academy, for Hewn, 2017;

Jessica Mongeon, Arkansas Tech Academy, for Drunken Trees: Permafrost Melts, Leaving Uneven Ground, 2017; Duane Paxson, Independent Artist, for Denying Dendera, 2018; and John Douglas Powers, Academy of Tennessee–Knoxville, for Terra Nuova, 2017.

EAHN

The EAHN wishes to describe attention to the 3 calls for proposals described below, all organized by EAHN's Urban Representations Work Group, for the conference "The Global Urban center: Urban Status as a Pervasive Miracle" organized by the A.I.Due south.U. (Associazione Italiana di Storia Urbana) in Bologna, 11-xiv September 2019.

The deadline for submitting abstracts has been extended to February tenth.

Abstracts indicating proper noun, amalgamation, email address, brief cv, and a description of the proposed topic of no more than 2000 characters should exist sent both to the chairs of the session and to the conference organizers (congresso@storiaurbana.org) using the form found on the briefing website http://www.storiaurbana.org/alphabetize.php/en/component/content/article/9-congressi/1131-bologna-2019-call-for-paper-u.k.

Session 3-5 "The Photograph-book and the Urban center"

The term 'photo-book' was coined in the 1920s by László Moholy-Nagy and went on to define a popular genre within 20th-century visual culture. While this genre emerged inside the 'New Vision' of the inter-war menstruum, it has a broader history that goes beyond the modernist avant-gardes. What role did this unique form of publication play within the history of urban representation? The aim of the session is to focus on the photo-book as an instrument for reading, analysing, and interpreting cities through a curated sequence of images. At that place is a long cultural and artistic history of these illustrated books, spanning from the late-19th to the early on-21st century, which calls for comparative investigation. A tentative list should include celebrated examples, ranging from Alvin Langdon Coburn'due south works inspired by Japanese view-making cultures (London 1909; Edinburgh 1909; New York 1910) to seminal books by Brassaï (Paris de nuit 1932), Berenice Abbott (Changing New York 1939), Horacio Coppola (Buenos Aires 1936) and William Klein (New York 1956; Rome 1959), simply we are as interested in less-known publications. Attention will as well be given to by the work of photographers trained as architects who used the camera to capture specific qualities of urban infinite, such as Norman Carver (Italian Hilltowns 1979) and Gabriele Basilico, whose observations of cities around the globe (Milan; Beirut; Berlin; Moscow; Istanbul) were the subject of advisedly curated volumes. There is a history here that awaits to be written; ane that is made all the more than significant by the recent use of photo-books to preserve the narrative of urban campaigns stretching over decades (e.g., works past Martin Parr and Garry Annoy published by Phaidon). Gradually, equally with other photographic trends, this type of representation has been taken upwards by gimmicky artists, historians, architects and urban designers for a variety of urban explorations. Nosotros encourage participants to advise example-studies as well as reflective papers focusing on photo-books across the history of photography – from its origins to the latest digital developments. Contributions that accost the function of diverse figures involved in the production, circulation, and reception of these publications (east.g., photographers; editors; publishers; etc) are also welcome.

Chairs: Davide Deriu d.deriu@westminster.air conditioning.united kingdom; Angelo Maggi amaggi@iuav.it

Session 6-4 "Reading the Metropolis's Histories Through Visual Documents"

Every metropolis contains multitudes, presenting a commonage artifact fabricated up of innumerable places and lived narratives. Most present-day cities likewise overlay multitudes, covering or transforming before iterations of themselves. Our noesis of those older layers, of urban landscapes since recast, speedily surrenders to the mortality of personal memory. Nosotros then come up to depend heavily on the persistence of physical artifacts that capture fragments of the past city, whether through survivals and traces in the present-day congenital landscape or through records — textual, visual, and sometimes even iii dimensional — of those largely supplanted deeper layers of the urban palimpsest.

But the city is a big and complicated artifact, and every such representation must exist a purposeful distillation, begging questions of the part and the whole, and of selection. Each favors some kinds of information over others, and all demand a considered test of the lens adopted past their creators, retrospectively framing the visual document in the context of agency, motives, models, and expected function. At the same time, fifty-fifty equally we are conscious of such filtering frames, we want to ask what they tell united states about their subject area, as they offer posterity some of our best evidence of these places in time. They allow u.s.a. to amend see and read the built landscapes they portray as patterns of forms, as socio-economic artifacts, every bit settings of living and working and gathering, of entrepreneurial ambitions and communal system, across the globe and through history.

For this session, nosotros especially invite contributions that look to and interrogate visual documents that capture lost aspects of the city of both distant and recent history at a range of scales — from detailed surveys of mutual building forms to purposefully selected sets of views, from closely transcribed plans and streetscapes of whole blocks and neighborhoods to maps of larger spatial networks and depictions of a urban center equally a whole — that offer us insights on both that city and our own vantage point, in terms of our intentions and responses, in our looking at and to it.

Contact person: Anat Falbel anatfalbel@uol.com.br

Chairs: The EAHN Involvement Group "Urban Representations" (organized past group members Jeffrey Cohen, Anat Falbel, Min Kyung Lee, Nancy Stieber)

Session vi-6 "Stories We Tell: Narratives of Urban Space"

Architectural sites as tourist attractions challenge the histories and memories of the urban collective. The city beckons the potential visitor (both tourist and local alike) through the aestheticization and cultural branding that serve, particularly through pervasive mediatizations, to narrativize urban infinite that may be in contrast to, or stacked amongst, stories of place. This session will engage an array of pressing questions well-nigh the relationship of architecture to tourism and memory specifically to position concepts of demolition, preservation, heritagization and new structure inside urban (geopolitically-shaped) sites, for no site is discrete from place; no touristic visit can effectively exist achieved without because — in some mensurate — the story of a place and the memories it holds for all those who dwell or pass through it. No guidebook is disentangled from interpretive memories and stories that contribute to how tourists come to acquire about a site. Questions such as whose memories become the stories of a tourist's encounter with a identify, or how do nosotros consider the terms heritage or heritagization within the context of placemaking and memory stories, volition be discussed. Finally, what constitutes the retentiveness or (competing) memories of a place in order for it to exist preserved (and subsequently branded for a tourist economic system)?

Chair: Shelley Hornstein shelleyh@yorku.ca

ATSAH

NEWS FROM Association FOR TEXTUAL SCHOLARSHIP IN Art HISTORY

AWARDS for Students and Scholars

In commemoration of our 30^th anniversary, ATSAH plans to offer two awards: 1 prize for the best article by an emerging scholar (no higher than Associate level). The topic may range from classical to Pre-Raphaelite fine art, reflecting the aims of ATSAH. The 2nd is a modest travel grant for junior scholar presenting a paper an ATSAH session.

The board of ATSAH selects these awards.

For further data, contact:

Liana Cheney, PhD, President of ATSAH
Liana_Cheney@uml.edu

ATSAH Session at CAA 2019

Member's publications

Special Edition in Iconocrazia Vol 13 – 2018
Art, Astronomy, Politics, and Religion

Liana De Girolami Cheney
Giorgio Vasari's Moral Virtues in the Oratory of the Compagnia del Gesù at Cortona: Physical and Metaphysical Power

Andrzej Piotrowski
Politics, Compages, and the Historiography of Deprival in Poland

Brian D. Steele
Force Constrained: Hercules in Sixteenth-Century Venice

Charles Burroughs
The Graces and Political Order in the Renaissance Imaginary

Damiano Acciarino
Iconologia del Fato nel Rinascimento

Giangiacomo Gandolfi
Cosimo de' Medici, Paolo Toscanelli e il Cielo dei Magi: una nuova ipotesi per gli Emisferi Celesti Fiorentini

Jennifer Bates Ehlert
Questioning the Oracle: Jacek Malczewski'south Pythia series and World War 1

Lynette K.F. Bosch
Interpreting and Dating Michelangelo'due south Crucified Christ for Vittoria Colonna: Fra Ambrogio Catarino Politi And St. Paul

Sarah J. Lippert
Arab republic of egypt and Napoléon Displaced

Cassandra Sciortino
Armand Indicate'south St.Cecilia & the Painters of the Soul: Bridging Art & Life in Fin de Siècle France

Liana De Girolami Cheney
Edward Burne-Jones's The Mirror of Venus: Physical and Intangible Female Dazzler in Journal of Literature and Fine art Studies ix, no. i (January 2019):1-28.

International Association for Word and Image Studies (IAWIS)

New Publications

A selection of articles from the IAWIS Dundee conference (2014) has now been published in volume course. The volume is entitled:

Fine art and Science in Word and Image: Exploration and Discovery, Brill/Rodopi (Word and Prototype Interactions, volume 9), edited by Keith Williams, Sophie Aymes, Jan Baetens and Chris Murray

It is bachelor at https://brill.com/view/championship/36202

"Photographie et théâtre", Revue internationale de photolittérature, ed. Marianne Drugeon, Christine Kiehl, Jean-Pierre Montier et Laurence Petit, north° 2, 2018. https://www.fabula.org/actualites/revue-internationale-de-photolitterature_88524.php
Converging Lines: Needlework in English Literature and Visual Arts edited by Rachel Dickinson & Laurence Roussillon-Constanty, Revue Eastward-Rea, due north° 16.1/2018: https://journals.openedition.org/erea/6451
Next IAWIS Triennial Conference

CALL FOR SESSIONS H2o and Sea in Discussion and Image, University of Grand duchy of luxembourg, July v^th – 10^th, 2020

In an era in which water scarcity is threatening us all and the mainland is afflicted even in the depths of its epicenter past what is happening on its shores, it seems of great importance to propose a subject both acutely topical and strongly tied to the collective imagination. In Alessandro Baricco'due south novel Body of water body of water (1993), the fictional grapheme Plasson paints the sea with seawater. This allegorical scene sums up our topic to some extent: h2o is hard to grasp and withal concerns us more and more than. Shapeless, even so waiting to be defined, it even resists any effort of conceptualization. Putting water and the body of water into words and into images is not obvious, represents a real discursive and plastic challenge and is therefore particularly likely to phone call into question the human relationship between text and image. Due to its rhythm "without measure" (Deleuze & Guattari, 1980), water as an element transcends Lessing'south dichotomy between arts of time and arts of space (run into Louvel, 2002). The water's unspeakable nature does not coincide with its invisible essence. Yet, literary and plastic narratives constitute an bodily semiosphere with, at its borders, an area where the semiotic links are violated (Lotman, 1966), the realm of the unstable, the arbitrary, the unaccountable.

Located at the centre of the European continent – however tightly interconnected with its periphery –, cradle of the siren Melusine, territory boasting its natural springs and its balneology, Grand duchy of luxembourg seems to be the appropriate place to host a world congress on this bailiwick.

Abstracts for sessions should be a maximum of 300 words.

North.B.: All conference participants must be members of IAWIS/AIERTI (http://iawis.org/) and in guild with their membership fee before the conference.

The deadline for SESSION PROPOSALS is February 28th, 2019. Submissions are to be dropped on our website: https://waterandsea2020.uni.lu

The selection committee volition contact yous before March 30^th, 2019 about the outcome of your application.

POTENTIAL Conference SESSION THEMES

N.B.: The sessions consist of one or maximum ii panels of 1h30 each (three papers). The panels will offering a tribune to experienced researchers in Word and Image Studies and/or young scholars (doctoral students/postdocs) whose proposals the chairs of the elected sessions will get together and select. The discussion and image interaction should be formulated in the title of the session. Please indicate if your session fits with one or several of the potential themes listed below (e.g.: 1, seven, 12).

Water, a natural chemical element (its virtues and dangers) and an esthetic claiming
H2o as energy in science and arts
The biblical or mythical imaginary of water and sea
Aquatic and maritime myths, rites and marine, fluvial or lacustrine folklore
Melusine, nymphs, naiads and other sirens
The seaside or withal water in painting and literature
Balneology, its history and actuality
Harbours in texts and images
Insular or peninsular cultures
Touristic promotion of natural heritage (seaside, lakes, rivers)
Aqueducts, thermal baths and dams in the Greater Region
The Mediterranean Sea, the Atlantic and the Pacific Ocean (shores, creature, cultural and market routes, migration)
Graphic novel, comics or cartoons on body of water, h2o or migration
H2o and ocean in film, video or in digital artefacts
The time to come of h2o in arts and media
Water scarcity, drought and sustainable issues in word and image
The sea as epistemological metaphor (shipwreck, raft, moving ridge, hurricane, liquidity, archipelago, foam)
Scientific or imaginary cartography
Other related topics

AHNCA

The Clan of Historians of Nineteenth-Century Fine art (AHNCA) is pleased to announce that the Sixteenth Almanac Graduate Student Symposium in the History of Nineteenth-Century Art, co-sponsored by AHNCA and the Dahesh Museum of Art, will be held on Sunday, March 24, 2019 (x:00 am – 5:00 pm), at the Dahesh Museum of Fine art, 145 6th Ave., New York, NY. The Mervat Zahid Cultural Foundation has generously provided the Dahesh Museum of Art Prize of $one,000 for the best paper. Information about the speakers and cursory abstracts of their papers will be available online at http://ahnca.org/index.php/symposia after February 6, 2019.

Historians of German language, Scandinavian, and Central European Art and Architecture (HGSCEA)

The Board recently awarded travel stipends to ii members of HGSCEA, Sara Blaylock and Lauren Hanson, to help defray the costs of their participation in CAA's almanac briefing. The Board also juried this year's HGSCEA Emerging Scholars Prize competition, the winner of which volition be appear at the reception and dinner in New York. As always, the dinner, which will take place on Thursday, February 14, from vii to 9 p.m., is free to current members. For farther information, contact a fellow member of the Board.

HGSCEA's sponsored session at the annual CAA briefing, "Women Artists in Germany, Scandinavia, and Key Europe, 1880-1960," is existence chaired past Kerry Greaves on Sat, February 16, from 10:thirty a.grand. to 12:00 p.chiliad.. Emil Leth Meilvang, Nora Butkovich, Lauren Hanson, and Lynette Roth volition read papers on Rita Kernn-Larsen, women in the Young Yiddish Group, Mary Bauermeister, and Anneliese Hager. For more information, go to the HGSCEA website (http://hgscea.org/ ) and the conference website (https://caa.confex.com/caa/2019/meetingapp.cgi/Session/1607)

The annual business meeting is scheduled for Friday, February 15. Information technology volition accept place in the Harlem Room on the iv^th Floor of the New York Hilton Midtown from 12:thirty-one:30 p.k. Members are welcome to attend.

The Midwest Art History Society

The Midwest Fine art History Society (MAHS) would like to telephone call your attending to its recent east-publication Monumental Troubles: Rethinking What Monuments Mean Today, searchable by its title in WorldCat. The publication records selected papers presented at the 2018 MAHS Annual Conference held in Indianapolis. The essays in this e-volume contribute to contemporary conversations most public monuments, broadly defined every bit commemorative objects, images, and spaces, and the responses to them, including the calls to remove, relocate, or destroy them. Contributors consider these "monumental troubles" from multiple historical, geographic and theoretical perspectives, suggesting a generative rethinking about why they were fabricated and how their meaning inverse over fourth dimension." The original briefing sessions were organized past Erika Doss, University of Notre Dame and the publication effort was guided to its successful conclusion by Cheryl Snay of the Snite Museum of Art.

And please consider attending the 2019 MAHS Almanac Conference to be held in Cincinnati, March 21-23. The Cincinnati Art Museum & the Taft Museum of Art are conference hosts, keynote speaker is Hollis Clayson. Conference registration includes special tours, receptions, and more than. Reduced fees for early registration stop on March 1. Volume a room in the Hilton Netherland Plaza at a discounted rate earlier Feb 27. Click the link beneath to register online & book a room. https://www.mahsonline.org/conference/register

HNA

What: CAA session: The Female Impact: Women and the Art Market in the Early Modern Era

When: Thursday, Feb 14, 2019, 2:00 PM – 3:xxx PM

Where: New York Hilton Midtown – second Floor – Morgan Suite

CHAIRS: Judith Noorman and Frans Grijzenhout

What: HNA Reception

When: Fri, February fifteen, 2019, 5:30-7 pm

Where: Syracuse University Lubin Business firm, eleven East 61st Street, New York, NY

Please RSVP to Amy Golahny, Golahny@Lycoming.edu

EPCAF

The European Postwar and Gimmicky Art Forum has changed its governance structure and will now be headed by a team of co-chairs. Lily Woodruff has transitioned from her previous role as president, and is at present joined by Raffaele Bedarida. Raffaele is an art historian and curator specializing in twentieth-century Italian fine art and politics. In particular, his research has focused on cultural diplomacy, migration, and cultural exchange between Italian republic and the United States. He is an Assistant Professor of Art History at Cooper Union, New York. Bedarida is the author of two monographs in Italian, Bepi Romagnoni: Il Nuovo Racconto (Milan: Silvana Editoriale, 2005) and Corrado Cagli: La pittura, l'esilio, L'America (Rome: Donzelli, 2018; English edition upcoming), and numerous manufactures for academic journals (International Yearbook of Futurism Studies, Oxford Fine art Journal, Tate Modernistic'southward In Focus) and exhibition catalogues (MART, Rovereto; CIMA, New York; Fundacion Juan March, Madrid; Frederick Kiesler Foundation, Vienna). He holds a PhD from the Art History Department of the CUNY Graduate Center, as well as MA and BA degrees in Art History from the Università degli Studi di Siena, Italy. Bedarida is currently working on the manuscript for his book: 'Like a Giant Screen:' The Promotion of Gimmicky Italian Art in the Usa, 1935–1969.

Public Art Dialogue (PAD)

Public Art Dialogue (PAD) will present its 2019 PAD Accolade for achievement in the field of public fine art to art collective vehement pussy during next week'southward conference. Please see the annunciation here: https://publicartdialogue.org/news/2019-01-09/2019-pad-laurels-fierce-pussy

Comprehensive Appraisal Studies Program (CASP)

Now Accepting CASP Applications!

The Appraisal Institute of America, the educational foundation of the Appraisers Association of America is now accepting applications for our Comprehensive Appraisement Studies Program (CASP) for both the Summer 2019 and Autumn 2019/Spring 2020 Semester.

Enroll in CASP to learn to appraise the fine and decorative arts. Completing CASP will provide you with a document in Appraisal Studies from the Appraisal Institute of America.

For more information and to utilise, please visit our website at www.appraisersassociation.org/CASP.

Gild of Architectural Historians

The Gild of Architectural Historians has been awarded a two-year, $508,000 grant from The Andrew W. Mellon Foundation to written report the status of the field of architectural history in higher education. The grant provides back up for a data-gathering initiative that volition gauge the wellness of architectural, urban and landscape history equally fields of study, every bit well every bit degree programs and curricula across the higher education landscape. SAH plans to hire a post-doctoral researcher to design and manage the report to determine where, and in what ways, these fields of study are expanding, receding, changing, or holding steady and to consider the structural or cultural factors backside such trends. SAH too volition hire a Project Coordinator to assist with the project. Visit the SAH Career Center for total task descriptions.

SAH has named builder Aymar Mariño-Maza and architectural historian Zachary J. Violette as the recipients of the 2018 H. Allen Brooks Travelling Fellowship. The fellowship allows an emerging scholar to travel the earth to feel architecture and landscapes firsthand. SAH awarded Mariño-Maza a ane-year fellowship and Violette a short-term fellowship for three months of travel. They will brainstorm their fellowship travels in March 2019 and will certificate their field studies through monthly updates on the SAH Weblog.

SAH invites nominations and self-nominations for the side by side Editor of the Journal of the Guild of Architectural Historians. JSAH is a quarterly, blind-peer reviewed international journal devoted to all aspects of the history of the global congenital surround and spatial practice, including architecture, landscape architecture, urbanism, and city planning. Published since 1941,JSAH has defined the field of architectural history, and is a pioneer in digital publication. Nominations due past April thirty, 2019.

Association of Impress Scholars

The Clan of Impress Scholars is pleased to host its affiliated gild panel at the Higher Art Clan briefing on Fri, February 15, 2019 in New York.

Chaired by Christina Michelon (University of Minnesota, Twin Cities), Coloring Print examines global printmaking traditions that advance our agreement of the function of the medium in the social construction of race. The papers called include "Red Ink: Ethnographic Prints and the Colonization of Dakota Homelands" by Annika Johnson (University of Pittsburgh); "Sites of Contest and Celebration: The Printed Life of Richard Allen, America's Early Race Leader" past Melanee C. Harvey (Howard Academy); "A Franco-Indian Anthology: Firmin Didot'southward Indian Paintings and Le Costume Historique's Chromolithography (1888)" by Holly Shaffer (Brown Academy); and "The White Native Body in Asia: Woodcut Engraving and the Creation of Ainu Stereotypes" past Christina M. Spiker (St. Catherine University).

Aaron M. Hyman and Dana Leibsohn have been awarded the Association of Print Scholars 2018 Publication Grant to support the forthcoming publication related to their projection "Washing the Archive: Indigenous Knowledge, European Prints, and Colonial Histories of Latin America."

The co-authored project focuses on the circulation of prints in colonial Latin America, highlighting unpublished documents and the methodological provocations indigenous practices tin can offer traditional early modern impress histories. The funding supplied past the grant volition provide both authors the opportunity to travel to the Library of Congress and to the University of Virginia to consummate their written report of indigenous uses of European prints in Spanish America, peculiarly practices of re-utilize, circulation, and loss under colonial atmospheric condition. The $2,000 award is funded by the Association of Impress Scholars and through the generosity of C.G. Boerner and Harris Schrank. We thank both print dealers for their support of APS and its mission.

Lodge OF HISTORIANS OF EASTERN EUROPEAN, EURASIAN, AND RUSSIAN ART AND ARCHITECTURE (SHERA)

The following members were elected to the SHERA Board: Kristin Romberg (Vice President/President Elect); Corina Apostol (Spider web News Editor); and, Anna P. Sokolina (SHERA-SAH Liaison). Karen Kettering now serves as President, Alice Isabella Sullivan equally Secretarial assistant-Treasurer, and Yelena Kalinsky as Listserv Ambassador.

Aglaya Yard. Glebova (UC-Irvine) has been awarded the SHERA Emerging Scholar Prize for her essay "Elements of Photography: Advanced Aesthetics and the Reforging of Nature" (Representations 142, Spring 2018). Ekaterina Heath (University of Sydney) was selected every bit the recipient of the SHERA Travel Grant for CAA 2019 to will deliver her paper entitled "Picturing the Cathay in Russian federation: Political use of Chinoiserie interiors under Empress Elisabeth Petrovna and Emperor Peter III."

The generous anonymous donor who has funded the SHERA Travel Grant has increased their back up to allow for more grants and to enlarge the pool of eligible applicants. The award was initially given out in one case per twelvemonth, for travel to CAA and ASEEES conferences in alternate years and was limited to graduate students. Going forward, the Travel Grant will be awarded twice per year for travel to both CAA and ASEEES. Additionally, contained scholars who receive no institutional support are now eligible to apply. Usa-based scholars volition receive $1,000 and scholars traveling from exterior the US will receive $1,500. Calls for applications are published on H-SHERA and on CAA Opportunities.

SHERA'due south Board would like to continue developing online resources for scholars and teachers in our field using the H-SHERA platform, including book reviews, sample syllabi, up-to-date contact information for obtaining paradigm permissions, briefing reports, information nearly graduate programs, or other resources. If you take ideas or would like to volunteer to help with this effort, please write to the H-SHERA editors at editorial-shera@mail.h-net.org.

Association of Fine art Museum Curators (AAMC) & AAMC Foundation

Clan of Art Museum Curators (AAMC) & AAMC Foundation is currently accepting applications for its Conference Travel Fellowships for curators to attend its Annual Conference and Meeting. Since 2010 alone, over 200 individual Curatorial Travel Fellowships have been awarded.

This twelvemonth we are proud to offer two opportunities:

Conference Travel Fellowship for Junior Curators . Open up to junior curators with less than 10 years of experience. Funding generously provided by the Samuel H. Kress Foundation.
Fine art Fund / AAMC Conference Travel Fellowship.Open to Britain curators to travel, network and develop relationships with their international peers. These Fellowships are a collaboration between Art Fund and AAMC Foundation.

All applicants must commit to participating in the full Conference program (May four-7, 2019 in New York Urban center) at the fourth dimension of application, including the all deadlines (non-negotiable), timelines, and travel. A stipend is granted as function of this Program to subsidize the travel requirements. Multiple curators from one museum are eligible, though individuals may just submit one application per year.

Each Fellowship has a separate application, and members may apply to one Fellowship only. Applications for both of these AAMC Foundation Briefing Travel Fellowships are due via our online awarding portal past 12pm ET on Tuesday, Feb 12, 2019.

To view the full program benefits, eligibility, and the link to the applications, please visit:

https://www.artcurators.org/folio/TravelGrants

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Clan of Art Museum Curators (AAMC) Foundation is pleased to announceDigital & Outward Engagement, the adjacent installment in its regionalIn-Chat series. Launched in 2016, AAMC Foundation'south In-Chat series brings together local communities and expands networks.

Slated for Tuesday, Feb 26 at the Philadelphia Museum of Fine art, In-Chat: Digital & Outward Engagement features half dozen perspectives on building bridges betwixt museums and their audiences through the apply of e'er-evolving technologies and digital tools. Moving past social media and traditional websites, this event brings together Philadelphia's leading voices to dig deeper into the ways in which technology can help accelerate dialogues with visitors, donors, colleagues, and the larger global community. They will touch the current efforts and platforms in the digital sector, and consider ways in which they could be used to help improve connect with audiences. With a look at the topic from varying perspectives, we'll also have the opportunity to reflect on ways to collaborate as well.

Moderated byChristopher D.One thousand. Atkins, Ph.D, Agnes & Jack Mulroney Associate Curator of European Painting & Sculpture and Director, Curatorial Digital Programs & Initiatives, Philadelphia Museum of Fine art, this program featuresAaron Miller, Senior Producer, Digital Media, The Franklin Found;William Noel, Associate Academy Librarian & Director, Kislak Center for Special Collections, Rare Books and Manuscripts Manager, Schoenberg Constitute for Manuscript Studies, Penn Libraries;Amy Sadao, Daniel W. Dietrich, Two Director, Institute of Contemporary Art, Academy of Pennsylvania;Ariel Schwartz, Kathy and Ted Fernberger Associate Director of Interactive Technologies, Philadelphia Museum of Art; andNeville Vakharia, Plan Director, Arts Administration Campus Program and Acquaintance Professor and Research Manager, Drexel University, Westphal College of Media Arts & Design.

ThisIn-Conversation volition be hosted at the Lecture Auditorium at the Philadelphia Museum of Art's Perelman Edifice on Tuesday, February 26, 2019 from 6:30pm – viii:00pm, followed by a short reception from 8:00pm – viii:30pm. Space is limited so pre-registration is required. Click here to reserve your seat!

ACASA – Arts Quango of the African Studies Association

https://world wide web.acasaonline.org

ACASA welcomes new board members:

Peri Klemm, President
Peju Layiwola, President Elect/VP
Shannen Hill, Past President
Raphael Chikukwa, Secretary
Rachel Kabukala, Treasurer
Fiona Siegenthaler, Newsletter Editor
Erica Jones, Assistant Website Editor
Cynthia Becker, ASA Liaison
Olubukola Gbadegesin, CAA Liaison
El Hadji Malick Ndiaye

In role since 2017:
Nadine Siegert, Website Editor & ECAS Liaison
Brenda Schmahmann, Facebook Manager
Anitra Nettleton, ASA Task Force for the Protection of Academic Liberty
Shadreck Chirikure

We thank our outgoing board members Silvia Forni, Jordan Fenton, Yaëlle Biro, Cécile Fromont, Liese Van der Watt, Deborah Stokes, Leslie Rabine and Cory Grundlach for their great work and wish them all the best for the hereafter!

Africa, Engineering science, and Visual Cultures: ACASA sponsored panel at the 107^th CAA Almanac Conference, NYC, February fourteen, 2019, 8.30-10.00am

Bring together us at the ACASA sponsored panel Africa, Engineering science, and Visual Cultures chaired by Amanda Kay Gilvin with paper contributions by Suzanne Preston Blier, Stephen Adéyemí Folárànmí, Kate Ellen Cowcher and Fiona Siegenthaler.

https://caa.confex.com/caa/

Backside-the-Scenes at the Brooklyn Museum during 107th CAA Annual Briefing, NYC February 15, 2019, 10.15am- 12.00pm

Join Kristen Windmuller-Luna, Sills Family Consulting Curator of African Arts, for a behind-the-scenes tour of the new exhibition One: Egúngún. Featuring a Yoruba (Nigerian) masquerade costume equanimous of over 300 African, Asian, and European textiles, the exhibition uses new research and multiple perspectives to emphasize the global connections and contemporary contexts of African masquerades. Information about the exhibition: http://brooklynmuseum.org

Limited space: RSVP at bkm.nyc/caa2019acasa

H-AfrArts is recruiting new Editors and Advisory Board Members!

H-AfrArts is looking for Editors and Advisory Lath Members to join the squad and share duties and responsabilities on a voluntary basis.
The Editor role involves moderating discussion posts and general CfPs. There is also an exciting opportunity (optional) to develop new content based on your interest and initiative, such every bit developing Education and Research Resources, Conference Reports, and Cross-Network Projects. A minimum of one year committment is required for this function. For a full description of the duties of Editors please consult: https://networks.h-net.org/node/905/pages/80264/becoming-editor
The Advisory Board Members assistance with the general development and welfare of the Network and advise Editors in cases in which there are disputes with the members (such every bit when a post is rejected and a subscriber appeals). A minimum of two years delivery is required for this role. To notice out more, please visit: https://networks.h-net.org/h-internet-advisory-board-members

Near the Network:

H-AfrArts is an international network jointly sponsored by H-Net (Humanities Online) and ACASA (Arts Council of the African Studies Association-USA) to provide a forum for the discussion and exploration of African art and expressive culture. There are a number of reasons and benefits for joining H-AfrArts Network, these include:

Collaboration: Volunteering with an H-Cyberspace Network can be an excellent opportunity to work within a multi-disciplinary and committed editorial team.

Date: H-AfrArts Network provides an excellent opportunity to engage with, support, and develop your bailiwick.

Best Practice: H-Net is committed to supporting editorial best practices. You will receive comprehensive H-Eatables online training to moderate and safeguard the content of the network.

Back up: H-Net has a Home Office staffed by trained historians, an online training plan, a Help Desk, and a split space where its Editors tin can discuss questions and concerns relating to bookish best practices and project development.

Immovability: H-Internet is committed to the long-term digital preservation of its bookish content.

Visibility: H-Internet's content is available online for free and uses an e-mail notification organization to deliver bookish content directly to subscribers.

How to Apply:

Applicants must demonstrate expertise in African Arts and have regular and reliable access to email.
If yous are interested, delight send your CV and a covering letter by email to: editorial-afrarts@mail.h-net.msu.edu
For any questions or help please contact: Helena Cantone – Advisory Board yenacanta@gmail.com
Applications volition be accepted until the positions are filled.
This is a voluntary position: The H-Internet is a not-profit organization run past academics and built around a committed customs of volunteers.

Call for Applications: AFRICAN CRITICAL Inquiry PROGRAMME: IVAN KARP DOCTORAL RESEARCH AWARDS FOR AFRICAN STUDENTS ENROLLED IN Due south AFRICAN Ph.D. PROGRAMMES
Closing Engagement: Wednesday 1 May 2019

The African Disquisitional Inquiry Plan is pleased to announce the 2019 Ivan Karp Doctoral Enquiry Awards to support African doctoral students in the humanities and humanistic social sciences who are enrolled at South African universities and conducting dissertation research on relevant topics. Grant amounts vary depending on research plans, with a maximum award of ZAR 40,000.
The African Critical Inquiry Programme (ACIP) seeks to advance inquiry and debate about the roles and practice of public culture, public cultural institutions and public scholarship in shaping identities and society in Africa. The Ivan Karp Doctoral Research Awards are open up to African postgraduate students (regardless of citizenship) in the humanities and humanistic social sciences. Applicants must be currently registered in a Ph.D. plan in a South African academy and be working on topics related to ACIP'south focus. Awards will support doctoral enquiry projects focused on topics such equally institutions of public civilisation, item aspects of museums and exhibitions, forms and practices of public scholarship, civilization and communication, and the theories, histories and systems of idea that shape and illuminate public civilization and public scholarship. Awards are open to proposals working with a range of methodologies in the humanities and humanistic social sciences, including research in archives and collections, fieldwork, interviews, surveys, and quantitative data collection. For full information about this opportunity and how to apply, see the total Call for Proposals listed under "ACIP Opportunities" on the website: http://www.gs.emory.edu/nigh/special/acip.html.

Call for proposals to organize a workshop: AFRICAN CRITICAL Enquiry PROGRAMME Endmost Date: Wednesday one May 2019

The African Critical Inquiry Programme invites proposals from scholars and/or practitioners in public cultural institutions in South Africa to organise a workshop to accept identify in 2020. The African Critical Research Program (ACIP) seeks to advance research and contend most the roles and practice of public civilization, public cultural institutions and public scholarship in shaping identities and order in Africa.
ACIP Workshops are intended every bit almanac occasions to identify and address critical themes, central questions and pressing practical problems concerning public culture. For instance, Workshops might focus on item notions and issues related to publics, visuality, museums and exhibitions, art, operation, representational forms, or institutional forms from different methodological, practical, and theoretical vantages. They might examine forms and practices of public scholarship and the theories, histories and systems of idea that shape and illuminate public culture and public scholarship. Workshops should encourage comparative, interdisciplinary, and cantankerous-institutional interchange and reflection that brings into chat public scholarship in Africa, creative cultural production, and disquisitional theory. Workshop budgets will vary depending on proposed plans; the maximum honor is ZAR lx,000.
Applications may exist submitted by experienced scholars and cultural practitioners based in universities, museums, and other cultural organizations in South Africa who are interested in creating or reinvigorating interdisciplinary, cross-institutional engagement and understanding and who are committed to training the next generations of scholar-practitioners. Applications may be submitted by a unmarried individual or a pair of individuals who have different institutional affiliations and bring different perspectives, approaches, or specializations to the proposed Workshop theme.

For full data about this opportunity and how to apply, meet the full Call for Proposals listed under "ACIP Opportunities" on our website. A list of previously supported ACIP Workshops is also available there: http://www.gs.emory.edu/almost/special/acip.html.

CAA's Committee on Women in the Arts selects the best in feminist art and scholarship to share with CAA members on a monthly basis. Meet the picks for February beneath.

ROSEMARY MEZA-DESPLAS: JANE Anger

January 31 – February 24, 2019
Amos Eno Gallery, Brooklyn

"Anger is an exclamation of rights and worth. It is communication, equality, and noesis. Information technology is intimacy, acceptance, fearlessness, embodiment, revolt, and reconciliation. Anger is retentivity and rage. It is rational thought and irrational pain. Anger is freedom, independence, expansiveness, and entitlement. Information technology is justice, passion, clarity, and motivation. Anger is instrumental, thoughtful, complicated, and resolved. In anger, whether you like it or not, there is truth…If e'er there was a fourth dimension not to silence yourself, to channel your acrimony into healthy places and choices, this is information technology."

Soraya Chemaly, Rage Becomes Her: The Power of Women's Acrimony (2018, Atria Books)

Artist Rosemary Meza-DesPlas explores all of these elements of anger and more through her sinuous lines in hand-sewn human hair drawings, watercolors and onsite installations in her solo show, Jane Anger, the title referencing a 16th century pamphlet published in England titledJane Anger, Her Protection for Women. She also utilizes fine art history as inspiration by juxtaposing found fine art historical imagery along with social media and mass media imagery, exploring how the social movements, Women's Marches and #MeToo, harnessed acrimony in social club to forefront an array of gender-based burdens, presenting anger equally a tool rather than detriment, as media often reflects. Moreover, past using her ain gray hair in her drawings, Meza-DesPlas implicates further thought on socio-cultural symbolism, feminism and body issues, and religious symbolism, invoking both contemporary and classical perspectives effectually anger. Edifice on the multi-media feel, during the opening reception, the artist will present her piece titledIntervals of Anger, performing a poem every xv minutes. Taken altogether and individually, Jane Acrimony volition surely rile and provoke audiences on this timely issue.

HELÈNE AYLON : Elusive Silver: Paintings that Alter in Time

January 12 – March two, 2019
Leslie Tonkonow, New York

The first solo exhibition of Helène Aylon in New York since 1979, Elusive Silver is a great introduction to the perceptual intricacies and feminist intent of the work of this understudied pioneer through her eponymous 1969-1973 abstract painting series. Comprising works that reflect and refract an inner glow that changes visually with the viewer'due south stance and the light weather, this start exploration of procedure-driven painting made with industrial materials such equally canvass metal, acrylic plastic and spray paint is a potent prelude of her signature late-1970s works physically irresolute, every bit intended, with the passage of time.

Built-in in 1931 and raised within the Ultra-Orthodox Jewish community in Boro Park, Brooklyn, Aylon was married to a rabbi at the age of eighteen and became widowed, with two young children, at the age of thirty. While in her mid-twenties, she enrolled equally an fine art major at Brooklyn College, taking classes with Ad Reinhardt who became her friend, her true mentor who freed her work, while also introduced her to Mark Rothko, with whom she shared the spiritual foundations of their common cultural backgrounds. Refraining from marking-marking, beginning in 1969, however, Aylon experimented with the idea of creating "painting that revealed itself," in an attempt to introduce an evolving feminist consciousness in painting.

The Medea Insurrection: Radical Women Artists Behind the Iron Curtain

December 8, 2018 – March 31, 2019
Kunsthalle im Lipsiusbau, Dresden, Frg

Curated by Suzanne Altmann, The Medea Insurrection redresses the marginalization of the vanguard women artists working in the High german Democratic Commonwealth and their radical female perspective—largely due to the institutional predilection for East Deutschland's male person figurative painters earlier and after the Wall's autumn. The Medea Insurrection illuminates the singularly radical idioms of an intergenerational pick of multimedia women artists and rarely shown groups from Due east Federal republic of germany and highlights their conceptual and creative affinities with more than recognized artists from other socialist countries in low-cal of their shared provocative plow to mythology and empowering reinterpretation of female figures –such equally Medea, Cassandra or Penthesilea—equally means to advance contemporary, frequently punk, images of women, and protest both bourgeois and socialist role models. With this "double refusal" they were exposing themselves often to more risk than their male colleagues, who prior to 1989 often turned to codes of ancient mythology to limited their discontent with the communist rule yet in painting. Functioning creative person Gabriele Stötzer, for instance, was imprisoned as a dissident and faced years of surveillance by the Stasi. Christa Jeitner likewise was banned from exhibiting in the 1970s, equally was Cornelia Schleime who fled to the Due west in 1981."From a lack of freedom, a certain freedom emerges," as put by the curator, who argues that women artists were often more radical in such contexts of artistic unfreedom—peradventure because they were working so far nether the official radar that they could take greater risks.

The exhibition brings together the work of rarely shown performance and fashion group Allerleihrauh, the visual clinker of Dresden artists Angela Hampel, Christine Schlegel, Cornelia Schleime and Karla Woisnitza, the feminist experimentations of the filmmakers' group Efurt, from Thuringia, an intergenerational mixture of Due east Berlin photographers such equally Gundula Schulze Eldowy, Tina Bara, Evelyn Richter and Sibylle Bergemann, as well as Christa Jeitner and performance artist Gabriele Stötzer with Magdalena Abakanowicz (Poland), Geta Bratescu (Romania), Katalin Ladik (Hungary), Zofia Rydet (Poland), Zorka Saglova (Czech republic) and Alina Szapocznikow (Poland), among others, capturing, their defiant risk taking, talent for improvisation, cocky-irony, and categorical reinterpretation of classical materials and motifs beyond their different media. Information technology besides draws parallels to the 1980s, when Else Gabriel (Federal republic of germany) and Hanne Wandtke (Deutschland) carried out risky performance experiments as part of the Dresden group Autoperforationsartisten.

I Wish to Communicate With You: Corita Kent and Matt Keegan

January 13 – April 14, 2019
Potts Gallery (Los Angeles)

Some conversations are historical-actual—frequently resulting in the production of treasure troves of personal textile (letters and/or gifts exchanged as signs of connection and appointment)—and other conversations must, by dint of our temporal realities, exist virtual. When Corita Kent died in 1986, Matt Keegan was only ten years old—yet this did not stop the young artist from finding a bespeak of contact in Kent'due south work. On sabbatical in Cape Cod Kent produced a series of work that melded the colour-combinations of naval betoken flags with a variety of source material (the volume of revelation, Winnie the Pooh, and others) to create a vibrant abecedarium. Years later, Keegan has taken Kent's historical work and created his own series based on the radical juxtapositions offered past the former nun. Bringing the ii together in virtual dialogue is a reminder as to how artist's trajectories extend far past their own lives, and how nosotros might continue to have conversations with the past.

Graciela Iturbide'southward Mexico

January 19 – May 12, 2019
Museum of Fine Arts, Boston

Born in Mexico City in 1942, Graciela Iturbide has spent her career photographing daily life for the variety of ethnic populations that live in Mexico, and Latin America more broadly. A mentee of Manual Álvarez Bravo—who taught at the Universidad Nacional Autónoma de México (UNAM), where Iturbide attended—her work is both a paean to, and deviation from Bravo'south exacting formalism. In the tardily 1970s Iturbide received ii important commissions, both to photo segments of United mexican states's many indigenous communities. These commissions resulted in the publication ofJuchitán de las Mujeres, a defining moment in Iturbide'south storied career. Her engagement with matrilineal and matriarchal ethnic communities, non to mention the presence of the Zapotec genderqueer muxe, meant that Iturbide's photography has necessarily engaged questions of gender, sex, and social cohesion. As Iturbide'southward prominence increased, she was invited to devise and complete projects all over the world – yet this exhibition makes a case for Mexico as the near-constant geographic touchstone running throughout her practise.