“Revolution of the Eye” Receives Funding from the National Endowment for the Arts

Revolution of the Eye MicrositeThe National Endowment for the Arts has awarded $40,000 in support of the exhibition Revolution of the Eye: Modern Art and the Birth of American Television, curated by Maurice Berger, research professor and chief curator of the Center for Art, Design and Visual Culture (CADVC). The exhibition has been co-organized by the CADVC and The Jewish Museum in New York, which will administer the grant funds.

The exhibition, which will open May 1, 2015 at The Jewish Museum before embarking on a national tour, addresses the modernist aesthetic and conceptual principles that have influenced American television from its inception, and examines how early television introduced new trends in art, design, and avant-garde art. The exhibition will include photographs, paintings, sculptures, prints, conceptual art, excerpts of historic TV programs and film, memorabilia, posters, magazines, books, clothing, comic books, and toys by artists such as Herbert Ferber, Lee Friedlander, Allan Kaprow, Ellsworth Kelly, Roy Lichtenstein, Agnes Martin, Robert Morris, Ben Shahn, and Andy Warhol, as well as works by designers Lou Dorfsman and Saul Bass and architect Eero Saarinen. Also on view will be clips of TV interviews with John Cage, Salvador Dali, Willem de Kooning, Marcel Duchamp, Roy Lichtenstein, George Segal, and others.

The campus community is encouraged to participate in a survey at the exhibition’s website. Click here to share your culture interests and familiarity with television design.

Maurice Berger, CADVC, Awarded Grant from Creative Capital | Warhol Foundation

Maurice BergerMaurice Berger, research professor and chief curator of the Center for Art, Design and Visual Culture, has been awarded a $30,000 Arts Writers Grant from Creative Capital | Andy Warhol Foundation.

The grant supports research for Berger’s monthly column, Race Stories, for the Lens Blog of The New York Times. The blog explores the relationship of photography to concepts, themes, and social or regional issues about race not usually covered in the mainstream media.

Berger plans to conduct research on Robert Frank, focusing on contact sheets, notes, and shooting scripts for a two-part essay on Frank’s representations of race in The Americans. He will also conduct research for essays exploring parallel developments in African American, Latino, and Asian American photo-based art and photography from the 1960s to the present, focusing on the ways this work has challenged stereotypes and prevailing ideas about identity. More about the award can be found here.

Designed to support writing about contemporary art, as well as to create a broader audience for arts writing, the Arts Writers Grant Program aims to strengthen the field as a whole and to ensure that critical writing remains a valued mode of engaging the visual arts.

 

Revolution of the Eye in Broadway World

Revolution of the Eye MicrositeRevolution of Eye, an exhibition organized by the Center for Art, Design and Visual Culture and the Jewish Museum in New York, and curated by Maurice Berger, research professor and chief curator at the CADVC, received coverage in Broadway World on October 1. (Click here to read the article). The exhibition will open in May 2015 and will be the first to explore how avant-garde art influenced and shaped the look and content of network television in its formative years, from the late 1940s to the mid-1970s. A microsite that provides a preview to the exhibition is now available here.

Tom Scott, Retrospective (10/9 – 12/13)

Tom Scott, RetrospectiveOpening on Thursday, October 9 and continuing through Saturday, December 13, at the Center for Art, Design and Visual Culture is the exhibition Tom Scott, Retrospective. Tom Scott’s career as an artist spanned more than 60 years, from the early 1950s through the first decade of this century. His output is remarkable not only for its temporal span but for its quantity and qualities, amounting to over 3,000 by his death at age 85 in March 2013. It is also remarkable for the particular span of time it covers: a unique time that saw the ascendancy of American art on the world stage for the first time and an extraordinarily fertile period of general artistic invention worldwide that included the creation and maturing of important sub-movements of modernism, and simultaneously the beginning of post modern tendencies in art. The exhibition is guest curated by Tex Andrews.

On Thursday, October 9, an Opening Reception will be held from 5:00 to 7:00 p.m.

Admission to the exhibition and opening reception is free. The Center for Art, Design and Visual Culture is open Tuesday through Saturday from 10 am to 5 pm and is located in the Fine Arts Building. For more information about the exhibition visit here.

Maurice Berger, CADVC, Latest “Race Story” in The New York Times

In the latest essay for his Race Stories column in The New York Times, Maurice Berger, research professor at the Center for Art, Design and Visual Culture, shares his views on Father Figure: Exploring Alternate Notions of Black Fatherhood, a new book by a Toronto-based photographer and physician, Zun Lee. While the book’s images of African-American  fathers may at first seem ordinary — for example, a man feeding his baby as his other children play nearby — Berger notes that the photographs “are in one sense unusual: Their subjects are black and counter mainstream media that typically depict African-American fatherhood as a wasteland of dysfunction and irresponsibility.”

Read “Black Fathers, Present and Accountable” and view the photographs at The New York Times Lens blog.

Berger’s Race Stories column, which appears monthly on The New York Times website, is “a continuing exploration of the relationship of race to photographic portrayals of race.”

Niels Van Tomme, CADVC, Receives Vilcek Curatorial Fellowship

nielsvt_web1Niels Van Tomme, Visiting Curator of the Center for Art, Design and Visual Culture, has been named a 2014 Vilcek Curatorial Fellow by the Foundation for a Civil Society.

The Vilcek Curatorial Fellowship was established as part of the Foundation for a Civil Society’s Young Visual Artists Awards (YVAA) program. It is awarded annually to U.S.-based curators with demonstrated experience and excellence in engaging with international contemporary art. The fellowship provides curators with an opportunity to travel to one or more of the YVAA countries in Central and South East Europe to serve as guest jury members for the national awards as well as conduct short-term independent research, develop curatorial projects and expand their professional networks.

The Foundation notes that Van Tomme was chosen for his noted curatorial achievements, commitment to artists and publics alike, and potential to make important future contributions to the field of contemporary art. He will be traveling to Prishtina, Kosovo in mid-October to select the winners of the Artist of Tomorrow Award, as well as visiting Belgrade, Serbia; Bratislava, Slovakia; and Bucharest, Romania. He will also be conducting studio visits with artists, meetings with colleagues and presenting his curatorial practice at public events. As a Vilcek Fellow, Van Tomme will continue to be the agent of artistic exchange, creative collaboration and understanding between the United States and the YVAA countries.

The Young Visual Artists Awards is an international network of 10 national awards in Central and South East Europe and a New York residency program. First established with President Havel and a group of artists in Czechoslovakia in 1990, this highly successful program has grown to 10 countries and has to date awarded and presented in the US over 100 artists.

Maurice Berger, CADVC, Latest “Race Story” in The New York Times

In the latest essay for his Race Stories column in The New York Times, Maurice Berger, research professor at the Center for Art, Design and Visual Culture, shares his take on the thousands of photographs flooding out of Ferguson, Missouri. “Historically, photography was integral to the fight against racism and segregation. Leaders from Sojourner Truth to Malcolm X embraced the photograph’s potential as evidence and its ability to combat stereotypes,” writes Berger. “But sometimes, as in Ferguson, the camera has served as a more spontaneous ‘weapon of choice,’ as the photographer Gordon Parks called it, wielded by the oppressed in moments of anger, fear or frustration.”

Read “In Ferguson, Photographs as Powerful Agents” and view the photographs at The New York Times Lens blog.

Berger’s Race Stories column, which appears monthly on The New York Times website, is “a continuing exploration of the relationship of race to photographic portrayals of race.”