CONFERENCES Association for Latin American Art Fourth Triennial Conference “Art at Large: Public and Monumental Arts in the Americas” The Association for Latin American Art’s Fourth Triennial Conference will be hosted by the Fine Arts Museums of San Francisco in collaboration with the Department of History of Art at the University of California, Berkeley. The conference will be held the weekend of March 18–20, 2016 at the de Young Museum in San Francisco’s Golden Gate Park. Latino Art Now: Reimagining Global Intersections April 7-9, 2016, Chicago The Chicago Latino Art Now! Conference will provide an in-depth and objective assessment of the Latino art contours and forces currently shaping it. A city with a long and rich tradition in the visual arts, and creative Mexican, Puerto Rican, Cuban, Central, and South American artistic populations, will serve as the setting to examine and rethink Latino art. This landmark gathering, now in its fifth edition, will consider historical reassessments, directions, and developments in institutional infrastructure, documentation, and scholarship; critical evaluations of production in emerging Latino communities; and frameworks for presentation and reception in museums, fairs and galleries. DIGITAL RESOURCES Inglewood's Public Art Education Project (IPEP) is a comprehensive resource and teachers guide to the City’s canvas of public art, iconic architecture, creative communities and historic sites. IPEP is multi-media website exploring Inglewood’s public art and cultural resources as educational assets for the entire community. The url www.inglewoodpublicart.org leverages civic space as an opportunity for learning. On the site are walking tours, lessons plans and a comprehensive powerpoint with citations and reference and educational tools for visitors, educators, and community groups. EXHIBITIONS Monumental: RedLine’s Annual Resident Artist Exhibition, Denver, CO Januray 22-March 27, 2016 curated by Marisa Lerer Artists: Theresa Anderson, Libby Barbee, Stephen Batura, Ramon Bonilla, Sandra Fettingis, Sarah Fukami, Jennifer Ghormley, Homare Ikeda, Suchitra Mattai, Dmitri Obergfell, Collin Parson, Daisy Patton, George Perez, Andy Rising, Sarah Rockett, Tara Rynders, Jodi Stuart, Frankie Toan, Tracy Tomko, Chris Ulrich, Ashley Williams. Monumental invites RedLine artists to engage with intermedia approaches to re-imagine the monument. Artists address absences in the who, what, where, or when is represented in traditional monuments, and articulate a new notion of the monument through visual and other sensorial forms. Monumental is the first exhibition in a five-part exhibition & program series entitled R/Evolution. NEW PUBLICATIONS The Everyday Practice of Public Art: Art, Space, and Social Inclusion Cameron Cartiere and Martin Zebracki (Editors), Routledge, 2015. The Everyday Practice of Public Art: Art, Space, and Social Inclusion is a multidisciplinary anthology of analyses exploring the expansion of contemporary public art issues beyond the built environment. It follows the highly successful publication The Practice of Public Art (eds. Cartiere and Willis), and expands the analysis of the field with a broad perspective which includes practicing artists, curators, activists, writers and educators from North America, Europe and Australia, who offer divergent perspectives on the many facets of the public art process. The collection examines the continual evolution of public art, moving beyond monuments and memorials to examine more fully the development of socially-engaged public art practice. Topics include constructing new models for developing and commissioning temporary and performance-based public artworks; understanding the challenges of a socially-engaged public art practice vs. social programming and policymaking; the social inclusiveness of public art; the radical developments in public art and social practice pedagogy; and unravelling the relationships between public artists and the communities they serve. The Everyday Practice of Public Art offers a diverse perspective on the increasingly complex nature of artistic practice in the public realm in the twenty-first century. Memorials to Shattered Myths: Vietnam to 9/11 Harriet F. Senie, Oxford University Press, 2016. Memorials to Shattered Myths: Vietnam to 9/11 traces the evolution and consequences of a new hybrid paradigm, which grants a heroic status to victims of national tragedies, and by extension to their families, thereby creating a class of privileged participants in the permanent memorial process. Harriet F. Senie suggests that instead the victims' families be able to determine the nature of an interim memorial, one that addresses their needs in the critical time between the murder of their loved ones and the completion of the permanent memorial. She also observes that the memorials discussed herein are inadvertently based on strategies of diversion and denial that direct our attention away from actual events, and reframe tragedy as secular or religious triumph. In doing so, they camouflage history, and seen as an aggregate, they define a nation of victims, exactly the concept they and their accompanying celebratory narratives were apparently created to obscure.