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All posted opportunities appear on this page, the SAH homepage, and in our Weekly Opportunities Roundup email. Opportunities include awards, conferences, lectures/symposia, calls for papers/sessions, fellowships, and exhibitions. Click here to submit an opportunity.

To post a job, please visit the SAH Career Center.


  • Converging Lines: Eva Hesse and Sol LeWitt

    Austin | Dates: 23 Feb – 18 May, 2014

    Converging Lines: Eva Hesse and Sol LeWitt, on view at the Blanton Museum of Art February 23–May 18, 2014, celebrates the close friendship between two of the most significant American artists of the post-war era: Eva Hesse (1936–1970) and Sol LeWitt (1928–2007). Organized by Veronica Roberts, the Blanton’s curator of modern and contemporary art, the exhibition will feature approximately 50 works, including many that have not been publicly exhibited for decades.

    This exhibition is organized by the Blanton Museum of Art. Major funding for the exhibition is provided by the Henry Luce Foundation.

    Upcoming Programs related to Converging Lines

    March 20: Kirsten Swenson, assistant professor of contemporary art at the University of Massachusetts, Lowell, discusses Sol LeWitt's work.

    March 22: Writer, art critic, and activist Lucy Lippard speaks about her experiences with Eva Hesse and Sol LeWitt living in New York in the 1960s, and responds to their work.

    April 12: Pulitzer-Prize winning Boston Globe art critic Sebastian Smee discusses friendships between prominent artists, the subject of his forthcoming book.

    April 27: SoundSpace creates visual and sonic experiences in performances throughout the Blanton. In conjunction with the exhibition Converging Lines, Downtown NYC 1960 features dynamic experimental works by composers based in lower Manhattan in the 1960s, such as Steve Reich, La Monte Young, Terry Riley, and Philip Glass, as well as more recent compositions inspired by this movement.



  • Jan Tichy: aroundcenter

    Chicago | Dates: 01 Feb – 04 May, 2014

    aroundcenter is a site-specific exhibition composed of nine installations, each of which stands on its own, yet at the same time relate, deriving from and leading to the others. Through this exhibition, Tichy will lead visitors to a more integrated experience of the Chicago Cultural Center, including access to unrevealed areas and resources of the building. Using light as his primary expressive tool – through a variety of media including photography, sculpture, video and video projection – Tichy illuminates and makes accessible the history and current mission of the landmark building.

    Upon entering the Randolph St. side of the building, a neon sculpture created by the artist, installed and encased between the doors, will lure visitors to the building and once inside, the building’s history comes alive with an installation of artifacts from the Chicago Cultural Center storage.

    Other installations include History of Painting, which features 6,000 color slides covering three massive windows on the building’s fifth floor on the Washington St. side creating a color spectrum, and Vault, a video display from inside a secret vault within the executive offices of the Department of Cultural Affairs and Special Events.


    Join us for a series of films that explore the narrative and aesthetic themes of the exhibition on Sunday afternoons.

    The Labyrinth of Color & Light   March 16, 2-4pm – Claudia Cassidy Theater
    Explore films and videos from various filmmakers curated with Tichy’s light installations in mind. Treat your eyes and ears to works that explore the aesthetic elements of light and color, including the last film from László Moholy-Nagy and his students at Institute of Design.

    Chicago Documentaries   April 27, 2-4pm – Claudia Cassidy Theater
    After visiting the Chicago Rooms to see Changing Chicago 2014 curated by Tichy, come to witness the changing cityscape of Chicago and the landmark buildings with various documentaries such as Moving Picturescreated for CITY 2000.

    Performances and Tours

    The exhibition encourages guests to view, navigate, and experience the Chicago Cultural Center in new ways. Spoken word performances highlight the words, language, and knowledge that are imbedded in the building, from its history as a library, to the language incorporated as architectural details.

    2nd Story “Around the Way”
    March 17, 6-8pm – Randolph Square
    Join 2nd Story’s Bobby Biedrzycki, Nic Kay and L’Oreal Patrice Jackson as they lead a collaborative team of established Chicago spoken word poets in the performance of seven poems inspired by Jan Tichy’s installations.

    Flashlight Tour* Sign Up
    April 8, 11pm – Randolph Square
    City of Chicago Cultural Historian Tim Samuelson will lead a nighttime flashlight tour of the Chicago Cultural Center. Come explore Jan Tichy’s exhibition as Tim offers insight into the mysterious history of the building.

    Young Chicago Authors, Remix the Chicago Cultural Center
    April 19, 11:30am-12:30pm – Randolph Square
    Young Chicago Authors (YCA) poets will Remix the Chicago Cultural Center using found text in the architecture of the building as a construction site for new poems about the current and future state of Chicago culture. This New Chicago Cultural Center Remix project is facilitated by poet and Artistic Director Kevin Coval and YCA teaching artist and poet Jamila Woods.

    Workshops

    Light Workshop* Sign Up
    March 8, 1-3pm – Chicago Rooms
    Come explore the behavior of light, the phenomenon that makes our visual life possible. By building kaleidoscopes and camera obscuras, participants in this optical workshop will experiment with the reflective and projective properties of light, its color spectrum, and the images it enables. Have fun navigating the Chicago Cultural Center and Jan Tichy’s aroundcenter exhibition with an optical keepsake.

    Build Your Own Chicago Workshop* Sign Up
    April 5, 2-4pm – Chicago Rooms
    As part of Matt Bergstrom’s paper model series of prominent Chicago buildings, Tichy and Bergstrom will inaugurate the Chicago Cultural Center into the paper pantheon. Participants in this workshop will cut and fold their own model Chicago Cultural Center and other Chicago landmarks, gaining an intimate appreciation of their architecture.

    * Sign up for these events at: aroundcenter.org/program.html

    Some public programming was designed and developed by students in the Arts Administration and Policy program of the School of the Art Institute of Chicago in collaboration with the artist.

    Some areas of the Chicago Cultural Center may be unavailable to the public due to private events.


    Dates:
     
    February 1-April 27 2014

    Gallery Talks: Thursday, March 6 @ 12:15 pm & Tuesday, April 8 @ 5pm

    Chicago Cultural Center Hours:
    Chicago Cultural Center 
    Monday–Thursday, 9 am–7 pm
    Friday, 9 am–6 pm
    Saturday, 9 am–6 pm
    Sunday, 10 am–6 pm

    Chicago Room Hours: 
    Monday–Thursday, 10 am–7 pm 
    Friday–Sunday, 10 am–6 pm

    Location:
    Chicago Cultural Center, Chicago Rooms, 2nd Floor + Building-wide
    78 E. Washington St.
    Chicago, IL 60602

    Admission:
    FREE

    Website: 
    For more information, visit aroundcenter.org

  • Everything Loose Will Land

    Chicago | Dates: 01 May – 26 Jul, 2014

    The Graham Foundation is pleased to present Everything Loose Will Land—an exhibition that explores the dynamic intersection of architecture and the visual arts in Los Angeles during the 1970s. Reframing Frank Lloyd Wright's famous quip, “Tip the world over on its side and everything loose will land in Los Angeles,” the exhibition demonstrates that rather than merely abject disarray, the city’s characteristic “looseness” dislodged the arts from their separate habits, realigning and ultimately redefining cultural practices and their relationship to the city.

    Everything Loose Will Land was curated by Sylvia Lavin, Director of Critical Studies in the Department of Architecture and Urban Design at UCLA. It was originally organized by the MAK Center for Art and Architecture, Los Angeles, at the Schindler House, as a part of Pacific Standard Time and traveled to Yale University, School of Architecture Gallery prior to its presentation at the Graham Foundation. Major support was provided by the Getty Foundation, with additional support from Elise Jaffe and Jeffery Brown and the Graham Foundation for Advanced Studies in the Fine Arts (for the Yale and Chicago presentations).

    Sylvia Lavin is a leading figure in contemporary architectural history, theory, and criticism. Lavin is the recipient of a 2011 Arts and Letters Award, as well as previous awards from the Getty Center, the Kress Foundation, and the Social Science Research Council. In addition to her most recent book, Kissing Architecture(Princeton University Press, 2011) Lavin is the author of Quatremere de Quincy and the Invention of a Modern Language of Architecture (MIT Press, 1992); Form Follows Libido: Architecture and Richard Neutra in a Psychoanalytic Culture (MIT Press, 2005); and the forthcoming The Flash in the Pan and Other Forms of Architectural Contemporaneity (recipient of a Graham Foundation grant). She initiated a series of architectural projects for the Hammer Museum, and has been a guest curator for the Canadian Center for Architecture, San Francisco, and Ace Galleries.

  • The Spotted Stone, Quarried in Chicago

    Chicago | Dates: 13 Mar, 2014

    The Spotted Stone, Quarried in Chicago
    Thursday, March 13, 12 pm- 1 pm

    Nate Lielasus, AIA (Northworks Architects and Planners, LLC) will give a presentation outlining his research on the Spotted Stone of Chicago. Spotted Stone is a bituminous limestone which was quarried within the current city limits of Chicago and used for several significant buildings in the region. It differs from Joliet-Lemont limestone, which was known as “Athens Marble” and used in such structures as the old Chicago Water Tower, and Bedford limestone, quarried in Indiana and used extensively in Chicago.

    Though largely unknown today, Spotted Stone was one of the few (if not the only) stone quarried within Chicago and used for facing and trim on buildings and so holds a special place in the history of construction in Chicago.

    Bring your lunch; beverages provided.

    This event is sponsored by Historic Resources KC.

    Learning units: 1 LU/HSW

    Location: AIA Chicago, 35 East Wacker Drive, #250

    Member price: 0   Non-member price: $15.00

  • HABS/HAER/HALS Summer Employment Opportunities for Students

    Dates: 07 – 17 Mar, 2014
    The Heritage Documentation Programs seeks applications from qualified students for 2014 summer employment documenting historic sites and structures of architectural, landscape and technological significance throughout the country. Duties involve on-site field work and preparation of measured and interpretive drawings, and written historical reports for the HABS/HAER/HALS Collections at the Prints and Photographs Division of The Library of Congress. Projects last 12 weeks, beginning in late May or early June. View the job announcements and learn other important application details on our website at http://www.nps.gov/history/hdp/jobs/summer.htm Applications Due: 17 March 2014
  • CFP: Between Democracies 1989-2014 (Johannesburg, 13-15 Mar 15)

    Johannesburg | Dates: 06 Mar – 31 Jul, 2014

    University of Johannesburg (Faculty of Art, Design and Architecture), South Africa, March 13 - 15, 2015

    Deadline: Jul 31, 2014

    Call for Papers

    Between Democracies 1989-2014: Remembering, Narrating and Reimagining the Past in Eastern and Central Europe and Southern Africa

    Keynote speakers:

    Prof Achille Mbembe, Wits Institute for Social and Economic Research

    (Wiser)

    Contemporary theoretical framework for the conference: South Africa and Eastern and Central Europe

    ‘South Africa’ refers to a geographical location as well as to a constructed cultural space. In 1994, new ideological and political shifts in South Africa were entrenched by a neo-liberal democracy.

    Artists and art historians have in recent years revisited the contestations interconnected with the ideas of a racialised and gendered political landscape and the renegotiation of constructed social spaces. Post-apartheid South Africa from 1994 to 2014 is marked by the initially jubilant ideals of nation-building strategies such as the Truth and Reconciliation Commission, the notions of the Rainbow Nation and the African Renaissance as vehicles to grapple with the social constructions of identities in a ‘new’ South Africa. These strategies reflected a rationalisation of the post-colonial recovery with a sense of self and place and were premised on the assumptions of interchange, mixing, inter/transculturations, hybridity and creolisation.

    In the 1990s, paradigm shifts were noted in the international mainstream art arena. New York was no longer the international art capital, Eastern and Central European artists were now more visible as a result of the end of the Cold War and South African art was awarded several international platforms. But many South African artists continued their artistic practices of the ‘struggle years’. They were also under enormous pressure both at home and from abroad to visually embody the political changes, as well as to explore innovative approaches in their art. Art produced in the public domain of South Africa is still located in the political place of unresolved identities and remains in search of a recovery of self. Historical and political disruptions of transforming contexts periodically propelled artists into spaces of contention and disjuncture in continuing and discontinuing artistic practices. Contemporary artworks in the national South African context encompass representations of place, memory, active ideological forces in society, new public places and acculturated places of intermingling and negotiation.

    The ‘post-communist condition’ is not restricted to the space of the former Eastern Europe, but it also affects ‘the former West’. It has become at least a pan-European phenomenon, if not a global one, taking into account the pervasiveness of capitalist relations in the present world order. Instead of defining a clearly regulated geographical space, the expression has rather referred to a heterogeneous and conflicting discursive terrain. The collapse of the Berlin Wall prompted a reimagining of the formerly divided Europe on the grounds of different political imaginaries, economies and bio-political regimes. This process has been regarded as dependent on a shifting temporal logic (“back from the future”, as Boris Groys puts it), pertaining to a post-utopian attitude, given the prospective dimension of communist utopia. Artists and curators revisited the logic of modernity and explored its unrealised possibilities (Svetlana Boym), while at the same time questioning contested territorial marks and processes of un-belonging. From a socialist perspective, the recent crisis of global capital requires a reconsideration of social relations constructed by the Soviet imaginary, proposing alternative economies of knowledge and desire and different imagined collectives.

    In relation to temporality, issues of identity and reconstruction of the private and the collective selves became central themes in the recently unmarked and de-territorialised places of the ‘former East’.

    Thus, the question of coping with the socialist past and its heritage has been an important political issue in much of the art after 1989, overlapping issues of gender, ethnicity, class and national belonging.

    It has been dealt with primarily by means of a psychoanalytical approach, for which terms such as trauma, amnesia and desire pervaded art historical explanation of recent shifts in those societies and their art. Equally important is the post-colonial perspective, according to which the reconstruction of collective identities corresponding with a shifting political and social imaginary and the gradual disruption of the social fabric in an unstable political milieu are key factors in understanding many of the artistic concerns with their present, as well as, and especially with their past. In this respect, an “aesthetics of post-history”, as envisaged by Irit Rogoff in order to deal with the German art after the Holocaust, may be considered in relation to the ways in which collective and personal memory of the communist past is represented, performed, its former narratives and certitudes critically destabilised or its effigies commercialised in recent political gestures and artistic practices.

    Sub themes:

    - uses and limitations of postcolonial theory in art historical

      methodologies

    - constructs of place and political disruption

    - the discourse of memory and commemoration

    - transforming ideologies

    - new contexts of acculturation

    - acculturated places of intermingling and negotiation

    - negotiating postcolonial identities

    - national (re)constructions and their visual representations

    Send a 300 word abstract to: Judy Peter (PhD), eesa@uj.ac.za Deadline for abstracts: 31 July, 2014 The conference proceedings will be published in a peer reviewed volume.

    Convenors:

    Judy Peter (University of Johannesburg, South Africa) Cristian Nae (George Enescu" University of Arts, Iasi, Romania) Ljiljana Kolešnik (Institute of Art History, Croatia) Karen von Veh (University of Johannesburg, South Africa)

  • A Walk Through Time: Tour the Mansions of Historic Prairie Avenue!

    Chicago | Dates: 08 Jun, 2014

    A Walk Through Time: Tour the Mansions of Historic Prairie Avenue!

    Sunday June 8, 2014 from 1:00 to 4:00pm

    Tour begins in the Glessner House Museum coach house

    $50 per person / $45 for museum members

    Reservations suggested to 312.326.1480

    This very special tour, the annual benefit for Glessner House Museum, presents attendees with the rare opportunity to visit the interiors of several historic homes along Prairie Avenue.  Visitors will be treated to a breath-taking array of beautifully carved wood moldings, leaded glass windows, and fireplaces in elaborate tile, mosaic, and marble.  The Glessner and Clarke House Museums are also included on the tour as well as historic Second Presbyterian Church, with its important arts and crafts interior and collection of windows including nine by Tiffany and two by William Morris.  Following the tour, attendees are invited to return to the coach house of the museum for a reception and silent auction, featuring theatre tickets, Chicago memorabilia, collectibles, architectural fragments, and other items of interest.

  • Lecture: Louis Sullivan and His Mentor - John Herman Edelmann, Architect

    Chicago | Dates: 22 Apr, 2014

    Lecture:  Louis Sullivan and His Mentor - John Herman Edelmann, Architect

    Tuesday April 22, 2014 at 7:00pm

    Glessner House Museum coach house

    $10 per person / $8 for museum members

    Reservations requested to 312.326.1480

    Join author and retired architect Charles E. Gregersen as he explores the life and career of John Edelmann, the gifted architect and draftsman who had a profound impact on his young apprentice Louis Sullivan.  Copies of Gregersen's new book on Edelmann will be available for purchase and signing.

  • Opening of the Glessner House Corner Guestroom and Presentation on The Rocks

    Chicago | Dates: 09 Apr, 2014

    Opening of the Corner Guestroom and

    Presentation on The Rocks

    Wednesday April 9, 2014 at 6:30pm

    Glessner House Museum coach house

    $10 per person / $8 for museum members

    Reservations requested to 312.326.1480

    Join us as we celebrate the reopening of the newly restored corner guestroom and the adjacent exhibit gallery focusing on the history of the Glessners' New Hampshire summer estate, The Rocks.  In addition, docent John Waters will present an illustrated lecture on The Rocks using a vast array of historic images capturing the architecture, landscape, and every day life of the estate.

  • Private Tour: Levere Memorial Temple and the University Guild Collection

    Evanston | Dates: 28 Apr, 2014

    Private Tour:  Levere Memorial Temple and the University Guild Collection

    Monday April 28, 2014 from 10:00am to 12:00pm

    Northwestern University, Evanston

    $25 per person

    Pre-paid reservations required to 312.326.1480

    Explore two hidden treasures on the campus of Northwestern University in Evanston.  The Levere Memorial Temple, designed by Arthur Howell Knox in 1929, possess a striking interior including numerous windows by Tiffany Studios.  The University Guild collection features stunning decorative arts including many pieces acquired at closing of the World's Columbian Exposition in 1893.

    All proceeds benefit the House & Collections Committee Fund for the ongoing restoration of the museum.

  • Clarke House Museum Symposium: Virtue & Vice - Reform in Early Chicago

    Chicago | Dates: 26 Apr, 2014

    Clarke House Museum Symposium:

    Virtue & Vice - Reform in Early Chicago

    Saturday April 26, 2014 from 9:00am to 5:00pm

    Glessner House Museum coach house

    $30 per person (includes breakfast and lunch)

    $25 for students, docents, and Colonial Dames

    Pre-paid reservations required to 312.326.1480

    Vice Districts.  Prostitution.  Political Corruption.  Racial and Ethnic Discrimination.  Drunkedness and Poverty.  Rioting in the Streets.

    Peer into Chicago's past and uncover the social ills that plagued our growing city in the mid-nineteenth century.  Learn about reformers' efforts to clean up early Chicago with presentations by four noted historians.  An exhibit of related artifacts from the Clarke House Museum and Labarre Family Collections will also be on display throughout the day.  Tour Clarke House Museum at the conclusion of the program.  Don't miss this intriguing look at Chicago's struggle to reign in vice and instill virtue as the young city, and our nation, came of age in the turbulent years prior to the American Civil War.

  • CFP: Interiority as a Mode of Escape (NCFS, San Juan, 16-18 Oct 14)

    San Juan | Dates: 06 – 11 Mar, 2014

    Call For Papers: Interiority as a Mode of Escape (NCFS, San Juan, 16-18 Oct 14)

    40th Annual Nineteenth-Century French Studies Colloquium, San Juan, PR, October 16 - 18, 2014

    Deadline: Mar 11, 2014

    Call for Papers

    Panel: Interiority as a Mode of Escape

    I am organizing a panel for the 40th Annual Nineteenth-Century French Studies Colloquium, “Flight, Escape, Fleeing, Escapism, Freedom”/”Fuite, Évasion” (October 16-18, 2014 in San Juan, PR).

    The panel theme/title focuses on INTERIORITY AS A MODE OF ESCAPE from the modernization of Paris, spanning the shift of power from Versailles to the capital to the Haussmannization of the urban landscape. Two papers have already been identified.  My paper focuses on psychological interiority as represented in portraitures of averted gazes and mirror reflections. Jennifer Pride’s paper will focus on post-Haussmannization retreat from the cacophonous boulevards to the quietude of newly defined apartment interiors.   Literary, word-and-image, art history and other interdisciplinary topics are welcomed.  Please e-mail proposals to me directly lweingarden@fsu.edu, by March 11, 2014.

    Lauren S. Weingarden, PhD

    Professor of Art History / Department of Art History http://arthistory.fsu.edu/People/Faculty/Faculty/Lauren-S.-Weingarden


  • 2014 Oregon Design Conference

    Gleneden Beach | Dates: 01 – 03 May, 2014
    Join us for the 2014 Oregon Design Conference!
    May 1-3 at Salishan Resort, Gleneden Beach, OR.

    This year we will focus on community, environment, and design under the unifying theme of regeneration.

     
    Can we design in ways where culture, community, nature and the environment are in harmony?
    How do we create human habitats that are regenerative?
    Should we reframe the design process and our role as designers?

    Let’s brainstorm ideas– both new and old.

    Now in its second decade, the OregonDesign Conference has become the premier design event in the Pacific Northwest. It’s a mind-expanding opportunity to explore the nature and future of design and interact with colleagues, speakers, teachers, students and thought leaders.

     
    Join us on the edge of the continent!

    Space is limited. Inspiration is not. Register Now for early bird rates through March 24. Keynote Speakers - coming soon!

    Accommodations – contact Salishan by April 1 and mention AIA Oregon for conference rates starting at $155. 800-452-2300


  • 8th Annual Free Public Walking Tour: Waikiki

    Waikiki | Dates: 12 Apr, 2014

    Event Overview: As part of the Eight Annual Architecture Month celebration, the public is invited to join -- by reservation - in a Waikiki Walking Tour, led by AIA architects, on Saturday, April 12. 

    This tour is a specially organized event that will be held by AIA Honolulu on this date only.

    Walking Tour Overview: Over the course of ~ 2 hours, walkers will learn about architecturally significant historic buildings and areas in Waikiki -- a world-famous locale that we are all familiar with, but that too few of us appreciate as a center of historic architecture. The tour covers a distance of 1-1.5 miles.

    What to Bring? All walkers are encouraged to bring water and snacks to keep up their energy. Comfortable shoes, sunscreen and hats are highly recommended.

    Meeting Point - Staggered Tours: Staggered tours will be departing from the Royal Hawaiian Hotel at Tower Lounge, starting from 9am with the last tour leaving at 10am.

    Parking Suggestion: Stay green by walking or taking the bus. If you have to drive we suggest to park at the Royal Hawaiian Shopping Center (not the hotel parking). Parking with VALIDATION (buy water, a cookie etc at the shopping center) is FREE for the 1st hour. For the next three hours the fee is $1/hour = $3 for 4 hours. After that it becomes very expensive.

    Need more information? Contact our event chairs Tonia Moy, AIA or Mark Ayers, AIA.

  • AIA Architectural Walking Tour of Honolulu

    Honolulu | Dates: 08 Mar, 2014

    Our AIA architectural walking tours are a great way to explore the historic downtown of Honolulu through the eyes of an Architect. 

    Each tour is lead by an AIA architect who relates history, cultural insights, anecdotes and much more.

    Tour Groups: Groups are 4 - 10 people. Advanced reservations are required.

    Walking Tour: The tour starts at AIA Honolulu | Center for Architecture and for 2 1/2 hours our guide will take you past amazing buildings.

    Booklet: A historic booklet can be purchased for $5.00 (optional). Purchase it online or on the day of the tour (cash only - exact change).

    Tour Cost: $10.00/ person. Register and pay online. Needs to be paid in advance.

    Parking: Parking is available at the University Center garage, 828 Fort Street Mall until 4pm with entrance on Queen Street.View more parking information. Some street parking is available.

    Questions: Email Bonnie McIntyre, Center Services Coordinator or call at (808) 628-7243.

  • CFP: Looting in Visual Culture (SECAC, Sarasota, 8-11 Oct 14)

    Sarasota | Dates: 05 Mar – 20 Apr, 2014

    Call for Papers: Looting in Visual Culture (SECAC, Sarasota, 8-11 Oct 14)

    Sarasota, FL, Southeastern College Art Conference 2014, October 8 - 11, 2014

    Deadline: Apr 20, 2014

    Raiders of the Lost Art: Issues of Looting in Visual Culture

    Recent instances of both art theft and repatriation have brought the mechanisms and implications of the looting of art into the public consciousness afresh. However, behind well-known cases of illicit acquisition and its occasional redress stretches a long history of what to contemporary minds often seems to be questionable procurement of visual culture. This session explores the phenomenon of 'looting'

    very broadly conceived to include such issues as appropriation, spolia, forgeries, misattributions, situations involving the repatriation or return of stolen goods, and the impact of the 1970 UNESCO Convention. Papers approaching the topic from a theoretical perspective (for example, the appropriation of artistic ideas or the political use of certain visual styles) are encouraged in addition to those dealing with cases pertaining to specific objects. Papers on topics from any time period, geographical location and medium are welcome.

    Session Co-chairs: Ashley Elston, Berea College (elstona@berea.edu) and Julia Fischer, Georgia Southern University (jfischer1@lamar.edu)

    Please use SECAC's online form and submit your abstract and CV no later than midnight EDT on April 20, 2014.

    http://www.secollegeart.org/conference

  • Talk: Elizabeth Streb in Dialogue

    Austin | Dates: 10 Mar, 2014
    5pm
    Jones Center Community Room
    700 Congress Avenue

    Elizabeth Streb is an action architect, movement visionary, and the founder of the STREB Extreme Action Company. Catherine Gund’s documentary Born to Fly, 2014, featuring Elizabeth Streb and her dance company, has its world premiere at SXSW this March. Born to Fly pushes the boundaries between action and art, daring us to follow Streb and her dancers in pursuit of human flight. Join us for this public conversation between the artist and filmmaker.

    Born to Fly explores the evolution of choreographer Elizabeth Streb’s movement philosophy—as expressed through her technique, lifestyle, artistic community, and relationships. The film also delves into the experiences of her dancers, revealing the voices and motivations of these gladiators who bring her work to life, often putting their physical wellbeing on the line. Intermixing vérité footage, archival material, stock images, and innovative graphic design, Born to Fly declares the power, magic, and necessity of art in practice.

    Born to Fly screens during SXSW Film on Saturday, March 8, 1:30P, State Theater; Sunday, March 9, 11A, AMC Theater at Violet Crown; and Friday, March 14, 4:30P, Vimeo Theater at the Convention Center.




  • Rooftop Film: Biophilic Design: The Architecture of Life

    Austin | Dates: 26 Mar, 2014
    Roof opens at 7P; Film at 8P

    Jones Center Roof Deck

    $10/Free for members

    We need nature in a deep and fundamental fashion, but we have often designed our cities and suburbs in ways that both degrade the environment and alienate us from nature. Biophilic Design, 2011, features buildings that connect people and nature: hospitals where patients heal faster, schools where children’s test scores are higher, offices where workers are more productive, and communities where people know more of their neighbors and families thrive. 



  • Between Mountains and Sea: Arts of the Ancient Andes

    Austin | Dates: 01 Feb – 17 Aug, 2014

    The Blanton Museum of Art, in partnership with the Department of Art and Art History at the University of Texas at Austin, presents a special selection of objects that illuminate the lifestyle, technological achievements, and ideology of pre-Inka cultures among the coastal Andes of South America. Between Mountains and Sea: Arts of the Ancient Andes features 80 extraordinary works from the University’s collections, ranging from intricately woven textiles to painted ceramic vessels and modeled effigies. Through a dynamic presentation that integrates art historical and anthropological contexts, the exhibition traces the artistic development of the ancient Paracas, Nasca, Wari, Moche, Chancay, Sicán, and Chimú cultures from the Early Horizon (900–200 BCE) through the Late Horizon (1470–1532 CE) periods.

    The exhibition was conceived by the Blanton and guest-curator Dr. Kimberly L. Jones, while she served as a UT Austin lecturer and curator of UT’s Art and Art History Collection before her recent appointment as the Ellen and Harry S. Parker III Assistant Curator of the Arts of the Americas at the Dallas Museum of Art. This collaboration continues the Blanton’s tradition of working with experts across disciplines to present material outside the scope of its permanent collection, and furthers the Museum’s mission to provide experiences with art that allow visitors to see beyond their world. It also responds to audience interest in ancient objects that lend insight into our global cultural heritage – as evidenced by the success of recent exhibitions likeInto the Sacred City: Tibetan Buddhist Deities from the Theos Bernard Collectionand Through the Eyes of Texas: Masterworks from Alumni Collections.

    “We are delighted to partner with UT’s Department of Art and Art History and Dr. Kimberly Jones to present this important material to our audiences,” remarks Blanton Director Simone Wicha. “The exhibition will serve as a wonderful resource for students and the greater community, and provide a unique opportunity to see these beautiful and culturally significant works in a new context.”

    As the title suggests, the exhibition Between Mountains and Sea speaks to the achievements of coastal Andean cultures in their vital position between the western Pacific Ocean and eastern Andes mountain range. The Pacific coast of South America is home to environmental extremes, where the narrow but stark desert coastline is striped by fertile river valleys, whose abundance depends on the towering highland peaks for rains, springs, and water runoff. Mountains and sea thus frame the desert coast, marking environmental, ecological, and economic contrasts that have prompted complex networks of production and trade throughout Andean cultural history. “Undoubtedly, popular imagination about ancient Andean cultures is most often captured by the highland Andes, through elite Inka sites such as Machu Picchu,” states Dr. Kimberly L. Jones. “The coastal resources and societies, however, were foundational to the rise of Andean civilization.”

    The coastal Andean societies devised both technological and ideological means to tackle their precarious dependence on water for agricultural production. Through the vivid colors and refined modeling of their ceramic vessels and woven textiles, viewers understand the ideas, personae, and performances addressing such concerns. Perhaps one of the most well- known, the Nasca culture (100 BCE – 600 CE) created vast geoglyphs in the desert pampa known as “Nazca lines.” Among various possible functions, these immense earthworks may have indicated regions possessing or void of underground water channels. Historical photographs of these expansive figural and geometric designs will be included in the exhibition. They bear close connection to the images decorating vibrant polychrome Nasca ceramic vessels, which retain their remarkable brilliance after 1500 years.

    Arguably the most prolific of Andean visual cultures, the Moche (100–800 CE) on the North coast of Peru excelled in ceramic arts, using the medium to portray ritual, regalia, performance, and power. Moche ceramicists blended modeling and mold-making, painting, and relief to illustrate dramatic scenes of warfare and sacrifice, agricultural production, and fertility. The Moche approached stark realism in portraiture of male warriors, as well as in animal and plant representations. The identifiable species have sparked great scholarly interest, providing entry into the visual system of this ancient Andean culture. While many floral and faunal scenes recall the ecology of the desert north coast; others reference the dramatic changes brought by El Niño (ENSO) during its decade-long cycle of abundance and destruction. It is perhaps from this reality that the Moche conceived of beings with attributes combining the human and non-human, envisioning such “supernatural” figures as the “Crab-Being” featured in the exhibition.

    As populations and territory grew along the coast, so did competition and conquest. The exhibition highlights the expansion of coastal states, such as the Chimú (900–1470 CE), and the impact of highland states, such as the Wari (600–1100 CE) and Inka (1470–1532 CE), on the coast. Relying on the ocean, the Sicán and Chimú elite drew on the northern sea for their dynastic lore and social wealth. While metallurgy and fine stone engravings were hallmarks of these coastal states, ancient Andean textile arts were among the finest in the world. The exhibition thus concludes with a selection of richly woven panels and tunics, whose iconography and patterned colors serve as testament to these dynamic societies and their successful development along the desert coast.

    Between Mountains and Sea champions the unique opportunity to highlight exceptional works of art from the University of Texas at Austin’s collections, and to engage public audiences in scholarship on the pre-Hispanic Andes. The exhibition exemplifies the Blanton’s commitment to complement the educational mission of the University while creating opportunities for the greater Austin community to experience works from around the world in unexpected and thought-provoking ways. It builds on recent opportunities that have allowed the Blanton to bring ancient objects from many cultures, including Tibetan thangkas and mandalas, Japanese masks, Egyptian statuary, Maya eccentric flints, and more, to Austin.

    Between Mountains and Sea: Arts of the Ancient Andes is organized by the Blanton Museum of Art, with support from the Department of Art and Art History, The University of Texas at Austin.

    Funding for the exhibition is provided in part by William and Bettye Nowlin.

    Upcoming Programs related to Between Mountains and Sea:

    April 26: Archaeologist Steve Bourget presents exciting new findings from a dig in the Peruvian north coast region of the Andes.

  • 250 in 250: A Yearlong Exhibit Commemorating the 250th Anniversary of the Founding of St. Louis

    St. Louis | Dates: 14 Feb, 2014 – 15 Feb, 2015

    St. Louis turns 250 in 2014! How do you tell 250 years of St. Louis history in one exhibit? The Missouri History Museum does it through the stories of 50 People, 50 Places, 50 Images, 50 Moments, and 50 Objects.

    The 250 in 250 exhibition is part of the yearlong celebration marking the founding of St. Louis in 1764. 

    Presented by Bellefontaine Cemetery and Arboretum. Additional support provided by Emerson.