Author: Camara Dia Holloway

I am the Project Manager for the Romare Bearden Digital Catalogue Raisonné at the Wildenstein Plattner Institute. I earned my PhD at Yale University in the History of Art Department and specialize in twentieth century American art with a particular focus on the history of photography, race and representation, and transatlantic modernist networks. I also serve as a Founding Co-Director of the Association for Critical Race Art History (ACRAH).

Seminar Series, Art and Museums in Africa Michaelmas 2012 @ Cambridge Centre of African Studies

Cambridge/Africa Collaborative Research Programme
Seminar Series Michaelmas 2012
Art and Museums in Africa

The Collaborative Research Programme is supported by the Leverhulme Trust and Isaac Newton Trust

Monday 29 October at 5pm, Room S1, ARB
Atta Kwami: Independent Artist, Art Historian and Curator

Grace Note
The talk assesses the legacy of Grace Salome Kwami (1923-2006) as a modern
Ghanaian artist, educator and mentor. Her varied oeuvre of photographs,
textile designs, terracotta figures, pots, portraits, drawings, paintings,
decorated calabashes, sculpture, bead work and dress-design are of such a
high and consistent standard that people are considering establishing an
art museum in her house in Ho, Ghana. Towards the end of her life Grace
Kwami spent many months in Kumasi, where she had trained in the 1950s as a
Specialist Art Teacher at the Kumasi College of Technology, (now the KNUST).

Atta Kwami is a Visiting Fellow at the Cambridge/Africa Collaborative
Research Programme, Art and Museums in Africa (2012/2013). He completed his
Ph.D. in Art History at The Open University in 2007. As a Senior Lecturer,
he taught painting and printmaking from 1986 to 2006 at the College of Art,
KNUST, Kumasi. A number of his paintings hang in major public collections
including the National Museums of Ghana and Kenya, the V&A Museum, London,
the National Museum of African Art, Washington, DC, The Metropolitan Museum
of Art, New York and The British Museum.

This Seminar is accompanied by the exhibition ‘GRACE’ by Atta Kwami and
Pamela Clarkson. The exhibition is located on the 3rd floor of the Alison
Richard Building and will run until 15 March 2013.

Seminars are held in Seminar Room S1, Alison Richard Building, 7 West Road,
Cambridge CB3 9DT
For enquiries contact the Centre of African Studies on 01223 334396
centre@african.cam.ac.uk, www.african.cam.ac.uk

JOB: Art Historian, North American Art @ School of Art Institute of Chicago

The Department of Art History, Theory, and Criticism seeks a historian of North American art, 1865-1945, with expertise in diverse cultures and methodologies to begin August 2013. Open rank.

The successful candidate will contribute to the Department of Art History, Theory, and Criticism’s MA and undergraduate programs in Art History, providing undergraduate courses, graduate seminars, and master’s thesis supervision. The appointee will also be an active participant in the education of studio artists, architects, and arts professionals at the MFA, MA and BFA levels, and will contribute to the vibrant and creative culture of a prestigious art school. Faculty are expected to maintain active professional practices and also participate in departmental and school-wide committees and service.

By December 1, 2012 please submit complete application materials at http://SAICfaculty.slideroom.com. You will be asked to create an account, then complete the application which is a combination of fill-in fields and uploaded documents. Complete the fields for contact information, educational background, and professional references. Required files to upload include: letter of introduction stating your interests and qualifications; résumé, and writing samples (PDF files recommended).

JOB: Full-Time Faculty Art History/American Art @ FIT, NYC

Job Description:

We seek a specialist in American art who can also teach and develop courses in African-American art and/or contemporary Latin American art. Candidates should also be able to teach basic surveys of Western art. S/he will be expected to contribute to the department, school, and college beyond the classroom by developing innovative curricula, participating in committees and college-wide events, engaging in scholarly activity through conference presentations and/or publications, and advising students in the Art History and Museum Professions major and History of Art minor. S/he will receive appropriate mentoring by working with the Chairperson and with other department faculty teaching in related fields and will liaise with the Center for Excellence in Teaching, which anchors a faculty development program, for appropriate training with online learning systems and for other pedagogical guidance.

Requirements:

Successful candidates will have a Ph.D. and at least three years of teaching experience in a college or university, demonstrating familiarity with best-teaching practices and pedagogical initiative. Strong preference for candidates with museum experience and teaching experience that incorporates new technologies.

http://fitnyc.interviewexchange.com/jobofferdetails.jsp?JOBID=35615

The 2012 Charles C. Eldredge Prize Lecture: Maurie D. McInnis “Slaves Waiting for Sale: Visualizing the American Slave Trade”

Call for Papers: Writing through the Visual/Virtual—Inscribing Language, Literature, and Culture in Francophone Africa and the Caribbean

Ways of Knowing

artstuffmatters's avatarArtstuffmatters

As I’ve been working on my dissertation, I’ve been thinking a lot about what we learn from objects. How does looking at a sculpture change what we know or who we are?

People often use the word “aesthetics” to indicate an appreciation of the visual aspects of a work of art. Many people also consider this appreciation as merely a superficial survey of the outward properties. Yet, aesthetics is more than that. It’s a way of knowing based on sensory input instead of rational thought.  I think that this form of knowledge is crucial. To understand works of art, we need to discuss the sensory data of works in relation to historical, social, and cultural contexts.

The Clayton, Jackson, McGhie Memorial, 2003 in Duluth, Minnesota is one of the objects in my study of lynching memorials. I’m now thinking about how the memorial affects individuals and society. It’s easy…

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