ARTnews’ Pictures at an Exhibition presents images of one notable show every weekday. Today they preview South African artist, Mary Sibande’s exhibit at Leroy Neiman Gallery at Columbia University in New York, open through Saturday, May 1. The solo show presents six works by the Johannesburg–based artist, who is currently completing a residency at Barnard College in New York, from two series: “Long Live the Dead Queen” (2007–11) and “The Purple Shall Govern” (2013–). [ARTnews]
Featuring a variety of notable art historians, artists, curators, educators, and directors, HENI Talks is a digital platform aimed at broadening access to art education. Through a series of short films, industry professionals share their expertise on topics including art history, pedagogy, conservation, public programs, and artistic practice. [The Art Newspaper]
The Frances Lehman Loeb Art Center at Vassar College in Poughkeepsie, New York, has appointed T. Barton Thurber as its next director. Thurber currently serves as associate director for collections and exhibitions at the Princeton University Art Museum. He will succeed James Mundy, who is stepping down after twenty-eight years at the center, and will assume his responsibilities on August 5. [Artforum]
Tracy Fitzpatrick, Director of the Neuberger Museum of Art, announced that the Museum’s 2019 Roy R. Neuberger Prize, now carrying an honorarium of $25,000, has been awarded to Yto Barrada, an internationally-acclaimed French-Moroccan multi-media artist. In addition to the cash award, an exhibition of her work Yto Barrada: TheDye Garden, will be on view for the first time in the US at the Neuberger Museum of Art, September 25–December 22, 2019. [Hyperallergic]
The Mildred Lane Kemper Art Museum at Washington University in Saint Louis will reopen this fall following the completion of a major expansion project. Led by the architecture firm KieranTimberlake, the revamp is part of the university’s $280 million transformation of its Danforth Campus. The Sam Fox School of Design & Visual Arts’ newly constructed Anabeth and John Weil Hall, which will feature studios and classrooms for art and architecture students, will also be unveiled in October. [Artforum]
Quaytman skillfully translated the energy of preparatory sketches to large-scale proportions in these works. The resultant paintings retain the small moments where inconsistencies arise and balance is subtly disturbed when one draws by hand. In other words, Quaytman imported the personal aspect of the drawing process to the often impersonal world of geometric abstraction and, given the large scale of the paintings, cast the irregularities as heroic. Frank Stella, pioneer of the shaped canvas, warned that abstraction, especially as practiced by Kandinsky and Mondrian, can lack “human dynamics.” Quaytman’s work, however, is full of humanity.
[Kim Beil, Art in America]
The Princeton University Art Museum announced the appointment of Ronni Baer as the next Allen R. Adler, class of 1967, distinguished curator and lecturer. A scholar of Dutch, Flemish, and Spanish art and of the history of collecting, Baer has served as the senior curator of European paintings at the Museum of Fine Arts (MFA), Boston, since 2000. She will begin her new position on May 1. [Artforum]
The weekly CAA Conversations Podcast continues the vibrant discussions initiated at our Annual Conference. Listen in each week as educators explore arts and pedagogy, tackling everything from the day-to-day grind to the big, universal questions of the field.
This week, Rosie Liljenquist and Anne Diekema discuss Open Educational Resources (OER).
Rose Liljenquist is an Open Educational Resources librarian at Gerald Sherratt Library, Southern Utah University. Anne Diekema is also a librarian at Gerald Sherratt Library and an assistant professor at Southern Utah Univeristy.
By any number of metrics, the arts and humanities are experiencing challenging times. In response to these challenges, some universities and colleges in the United States have cut programs, collapsed libraries, or shuttered entire departments. Over the past years, CAA has tracked these changes in higher education through the organization’s own research efforts and through narratives relayed directly from our members. These actions taken by administrations are in no way secret. In article after article, the alarm has been sounded. We believe there is a better way to resolve these issues and protect the arts and humanities at the same time.
To bridge this divide, CAA is pleased to release Guidelines for Addressing Proposed Substantive Changes to an art, Art History or Design Unit or Program at Colleges and Universities.