CAA News Today
CWA Picks: Winter 2024–25
posted by CAA — December 20, 2024
Chiharu Shiota, Between Worlds
Art, like memory, is rarely linear. It ebbs and flows, reshaping itself in the way we consider it. The exhibitions that were chosen for CWA Winter 2024–25 Picks ask us to engage in the act of looking both forward and back while reflecting on how the passage of time, shifting perspectives, and evolving experiences transform our understanding of the artists’ work. Through these acts of reconsideration and reevaluation, we notice that meaning is not static—it is shaped by context, perception, and the continuously shifting relationship between the artist and the audience.
UNITED STATES
Amy Sherald: American Sublime
Through March 9
SFMOMA, San Francisco
This exhibition presents nearly fifty of Amy Sherald’s luminous paintings, including her iconic portraits of Michelle Obama and Breonna Taylor, poetic early works, and new works on view for the first time. Sherald’s artworks convey the quiet power of everyday people and invite viewers to participate in a more complex debate about accepted notions of American identity.
Christine Sun Kim: All Day All Night
February 8–July 2025
Whitney Museum of American Art, New York
California-born, Berlin-based sound artist Christine Sun Kim’s playful, politically resonant infographics on paper, murals, sculptures, performances, and other works address her lived experience as a Deaf individual and speaker of American Sign Language. This first museum survey covers the artist’s works from 2011 to the present.
Field Guide to a Hybrid Landscape: Dana Fritz
February 4–August 2
Marianna Kistler Beach Museum of Art, Manhattan, Kansas
In this series by artist and University of Nebraska–Lincoln professor Dana Fritz (b. 1970), haunting black-and-white photographs present the remains of a spring-fed forest within an otherwise near-empty stretch of semiarid Nebraska prairie, a thirty-one-square-mile plot of trees hand-planted at the turn of the twentieth century. The images raise questions about historical and contemporary environmental efforts: their motivations (here, originally, the desire to create a timber industry from scratch), their failures, and, in the forest’s survival, their successes.
Goddess Tales
Through December 21
Apexart, New York
Goddess Tales reinterprets the function of ritual, techniques that can be tools for the diaspora to feel at home via shared cultural understandings. The exhibition highlights the need to reimagine these practices today. Included artists subvert patriarchal values and gender binaries to create their own future folklores centering on the goddess archetype. The exhibition also foregrounds Native practices that were historically banned because they were seen as threats to colonial power.
Kelli Connell: Pictures for Charis
January 26–May 25
Cleveland Museum of Art, Cleveland, OH
In Pictures for Charis, American photographer Kelli Connell reconsiders the relationship between writer Charis Wilson and photographer Edward Weston through a close examination of Wilson’s prose and Weston’s iconic photographs of the Western landscape and the female nude. Connell weaves together the stories of Wilson and Weston with that of her own relationship with her partner at the time, Betsy Odom, enriching our understanding of the couple from her contemporary queer and feminist perspective. Selections from Pictures for Charis appeared in Art Journal 83, no. 2.
Made of Memory
Through March 16
New Museum Los Gatos (NUMU), Los Gatos, CA
NUMU presents an exhibition of five women artists who explore concepts of memory as it pertain to generational and cultural experience, immigration and migration. Through various media, they explore their experience of inherited memories and unveil personal stories of family and heritage while inviting us all to consider the deeper themes that connect us with the past and with each other. Engaging with culturally significant materials and symbolism, these works examine the vicarious nature of memory and present implicit meanings carried in ancestral artifacts that are passed from one generation to the next. Each artist
Making Their Mark: Works from the Shah Garg Collection
Through April 20
Berkeley Art Museum and Pacific Film Archive (BAMPFA), Berkeley, CA
Making Their Mark brings together more than seventy artworks by women artists from the Shah Garg Collection, illuminating transgenerational affinities, influences, and methodologies among pathbreaking artists from the postwar era to the present.
Pablita’s Wardrobe: Family & Fashion
Through April 12
Wheelwright Museum of the American Indian, Santa Fe, NM
Pablita Velarde, Helen Hardin, and Margarete Bagshaw—mother, daughter, and granddaughter—have a defining role in our understanding of painting traditions in New Mexico. All are tied to, and descended from, the Tewa people of Kha’p’o Owingeh, Santa Clara Pueblo. Each was independently known as one of the finest painters of her generation. Each struggled to be recognized in an artistic field still predominantly defined as Anglo and male. As women artists, defining and holding their own space was important. A means of achieving this was the careful cultivation of self-image while holding onto cultural values beyond the reach of a commercial art scene.
Tamara de Lempicka
Through February 9
de Young Museum, San Francisco
With works that exuded cool elegance and transgressive sensuality, Tamara de Lempicka (1894–1980) helped define Art Deco. Her paintings captured the glamor and vitality of postwar Paris and the cosmopolitan sheen of Hollywood celebrity. This exhibition—the first major museum retrospective of Lempicka in the United States—explores the artist’s distinctive style and unconventional life through four major chapters. More than one hundred works are on display and range from her post-Cubist work in 1920s Paris to her famous nudes and portraits to the melancholic still lifes and interiors of her final days in the United States and Mexico.
Toward Joy: New Frameworks for American Art
Ongoing
Brooklyn Museum, New York
How might American art be experienced at this moment? In honor of the Brooklyn Museum’s 200th anniversary, a transformative reinstallation of the American Art galleries reorients the ways that the Brooklyn Museum exhibits—and audiences rediscover—this acclaimed collection. Black feminist and BIPOC perspectives act as throughlines in this vast presentation of more than four hundred works.
MEXICO
Myra Landau: Sensitive Geometry
Through February 23
Museo Universitario Arte Contemporaneo, Mexico City
Born in Bucharest, Myra Landau (1926–2018) escaped Nazi persecution as a teenager and settled first in Río de Janiero, then in Mexico City (in the early 1970s) and Veracruz (1974–1994) before moving to Rome, Jerusalem, and finally the Netherlands. This exhibition brings much-needed attention to the geometric abstractions Landau produced during the nearly fifty years after her arrival in Mexico. Landau pastels, artists’ books, and works in other media reflect her relatively loose, free handling of abstract form, an approach of the type described by Brazilian critic Roberto Pontual as Geometria sensível.
SOUTH AMERICA
Circumambulatio: Anna Bella Geiger
Through July 27
Museu de Arte Contemporânea de Universidade de São Paolo, Brazil
The process piece Circumambulatio (in Latin, “a walk around”) by Brazilian artist Anna Bella Geiger (b. 1933) and four students has been reassembled here for the first time since its initial presentation in 1972. The group spent three months interrogating the notion of the center by making large-scale imprints in the sand of Rio de Janeiro’s Marapendi Reserve and by asking pedestrians what they thought of as the city’s center. The slides, photographs, experimental music, and handwritten records in this installation treat the theme of the center from scientific, psychoanalytic, philosophical, religious, visual, linguistic, and other perspectives.
EUROPE & UK
Chiharu Shiota: Between Worlds
Through April 20
Istanbul Modern, Istanbul, Turkey
Chiharu Shiota (b. 1972) evokes Istanbul’s position as a port city at the crossroads of Asia and Europe—and her own position as an Osaka-born artist working in Berlin—in “Between Worlds,” her full-gallery installation of an enveloping net punctuated by suitcases. Humanizing the net are its red threads, which suggest blood vessels; the suitcases, too, stand in for people, signifying the memories and feelings we carry through space and time. The exhibition celebrates the hundredth year of diplomatic relations between Turkey and Japan.
Kamilla Szíj: The Path of the Sun
Through January 17
Vintage Galéria, Budapest, Hungary
In these new drawings, Hungarian artist Kamilla Szíj (b. 1957) uses gently applied yet arresting patterns of overlapping, interlocking, cascading ovals to capture the play of light through circular openings in the blinds of her home studio. The works are musings on the passage of time and on the often unaddressed centrality of the sun in human existence.
Nicola L.: I Am the Last Woman Object
Through December 29
Camden Art Centre, London
This is the first in-depth exploration of Nicola L.’s multilayered practice, which encompassed cosmology, environmental concerns, spirituality, mortality, sexuality, and political resistance, and is typically contextualized within Pop art, nouveau realism, feminism, and design. The show includes textile sculptures intended to be participatory as a political gesture—all people united in one skin, regardless of ethnicity or gender. Oversized and caricatured sculptures are imbued with political commentary on equality, collectivity, and place, particularly for women, within society. A series of works on bed sheets memorialize women whose lives ended in tragedy or violence, among them Eva Hesse, Marilyn Monroe, Billie Holiday, and Ulrike Meinhof.
ASIA
The Elemental You: Simryn Gill, Neha Choksi and Hajra Waheed
Through January 9
Kiran Nadar Museum of Art, New Delhi, India
In The Elemental You, works in a wide range of media by South Asian diaspora artists Simryn Gill (b. 1959), Neha Choksi (b. 1973), and Hajra Waheed (b. 1980) explore the geological and cultural relationship of human activity to the Earth’s landscapes. Addressing themes of deep time and of reconciling oneself to loss, the exhibition exposes humanity’s destructive interventions but also reveals the importance of explorations and chronicling by artists, the latter engagements constituting, in curator Akansha Rastogi’s view, acts of care.
Louise Bourgeois: I have been to hell and back. And let me tell you, it was wonderful.
Through January 19
Mori Art Museum, Roppongi, Tokyo
This first solo exhibition of Louise Bourgeois in Japan in the twenty-first century takes place at the Mori Art Museum in the Roppongi Hills development in Tokyo, home to one of the artist’s enormous bronze mother spider sculptures, Maman (1999/2002). The show features paintings from Bourgeois’s first decade in New York, 1938–48, and puts Maman in conversation with other Bourgeois spiders as well as with other large and small-scale sculptures. Passages from the artist’s psychoanalytic writings appear in a new set of projections by Jenny Holzer, here with Japanese translations.
MIDDLE EAST & NORTH AFRICA
Zeinab Al Hashemi: Metempsychosis
Through January 15
Al Serkal Avenue, Dubai, UA
Metempsychosis is a reflection on transformation, where the raw materials of industry and history meet personal healing. This body of work represents Zeinab Alhashemi’s ongoing exploration of the elements that shape her artistic practice while also responding to the trauma of a life-altering car accident. Metal, now a permanent part of her body in the form of screws and hardware, is exposed in her sculptures as a metaphor for the structures that define contemporary existence. These elements highlight the impact of human intervention in reshaping the environment. At the heart of the exhibition are sculptures made from PVC Roman pillar molds, enveloped in camel hides, a material that symbolizes the tension between heritage and industrialism, death, and rebirth. The visible screw bolts serve as both functional elements and symbols of mechanization, echoing the hardware in her own body. These bolts, a recurring motif in Alhashemi’s work, ground her in the industrial era while transforming personal trauma into art.
AFRICA
Annamieke Engelbrecht: Between Worlds: Fragments of a Cosmic Reality
Through January 16
Christopher Moller Gallery, Cape Town, South Africa
Between Worlds: Fragments of a Cosmic Reality by Engelbrecht invites you to set aside preconceived notions of reality and enter a space where familiar ideas dissolve into something vast and unknowable. Through abstract forms and shifting compositions, each work draws us into a liminal space where the finite and infinite converge, offering a sense of cosmic unity that transcends human constructs. Each artwork is a fragment of a larger whole, narrating the landscapes within and the distant strata beyond. These pieces present not a linear story but a layered experience—a vision of boundaries that define and connect us to an ever-expanding cosmos.
OCEANIA
Julia Trybala: Wide Eyed
Through January 25
Station Gallery, Sydney, Australia
In Wide Eyed, Julia Trybala continues to explore relationship dynamics through figurative painting. Her work, inspired by personal conversations with friends and family, captures an emotive response to the social dynamics of contemporary life while also referencing traditional Western painting practices. In this new body of work, the figures step into the spotlight becoming main characters in their own narrative rather than obscured amongst the setting. Hints of objects and landscapes emerge to ground the figures to time and place, suggesting an unfolding story.
CAA113 CAA-Getty International Program Participants Announced!
posted by CAA — December 11, 2024
The CAA-Getty International Program will welcome eight new scholars and four program alumni to the CAA 113th Annual Conference!
Now in its thirteenth year, this program brings a cohort of art historians, museum curators, and other visual arts professionals from around the globe to the CAA Annual Conference to connect with a selection of former participants at a preconference colloquium and alumni session, which examine topics such as historiographies, interdisciplinary and transnational methodologies, decolonizing museums, and other pressing issues in the field.
The 2025 preconference colloquium will be led by special guest Clement Akpang.
Read more about the 2025 program participants below, visit our website to learn more about the first ten years of the CAA-Getty International Program, and register for CAA113!
2025 PARTICIPANTS
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Aida Bičakčić obtained her degree in art history from the Faculty of Philosophy at the University of Sarajevo in 2008. From 2009 to 2023 she has held the positions of advisor for movable heritage, and later advisor for art history at the Commission to Preserve National Monuments of Bosnia and Herzegovina, for which she was involved in numerous research projects that resulted in designating cultural assets as National Monuments of Bosnia and Herzegovina. Starting in April 2023 she continued her career as the head of the collection at Ars Aevi, Sarajevo, curating a traveling exhibition of the collection, Sol LeWitt at KRAK Center for Contemporary Culture, and the Ars Aevi Video Art project, while also acting as jury member for a competition for young artists. In 2022, she began her PhD at Faculty of Humanities, Zagreb University, with a focus on history of conservation with the thesis “Protection of Architectural Heritage in the People’s Republic of Bosnia and Herzegovina between 1945 and 1960.” |
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Inesa Brašiškė is a Vilnius-based art historian and curator. She holds an MA from the Modern and Contemporary Art: Critical and Curatorial Studies program (MODA) at Columbia University. Her curatorial practice spans multiple institutions including the National Gallery of Art (Vilnius), Contemporary Art Centre (CAC, Vilnius), e-flux screening room, and Art in General. Following a decade of independent curatorial work, she now serves as head of research at the Sapieha Palace, a CAC branch, where she curates contemporary art exhibitions, directs a monthly artists’ film program, and organizes an annual symposium. Brašiškė’s academic research focuses on conceptual art and displacement, artistic labor, feminist art history writing in Eastern Europe, and avant-garde cinema and feminist screen cultures since the 1960s. Brašiškė’s recent scholarship reconsiders abstract painting through feminist histories of making, examines the critical potential of blurring, and explores artistic and curatorial engagements with archives in the Baltics.Her writing has appeared in MoMA’s C-MAP and Mousse as well as in numerous exhibition catalogs and books. Brašiškė was nominated for the ICI Curatorial Award in 2014. Her research has been supported by the Getty Library Research Grant, the Paul Mellon Centre Grant, and the AWARE Research Residency. |
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Conan Cheong is a PhD candidate in art history and archaeology at SOAS University of London, holding an MA from the same department. His doctoral research, centering on the personal collections of Buddhist monks in Laos of historical photographs and objects. investigates how Buddhist communities conceptualize the self through material practices of memory, memorialization, and representation. He is curatorial advisor for the Museum of Buddhist Art in Vat Saen Sukharam, Luang Prabang (opening in 2026). As curator at the Asian Civilizations Museum, Singapore, from 2016–23, he worked to develop collaborative relationships with source and use communities, and in the exhibition Body and Spirit: The Human Body in Thought and Practice (2022–23). He is a member of Circumambulating Objects: On Paradigms of Restitution of Southeast Asian Art (CO-OP). |
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Goomaral Dalkh-Ochir is an art historian at the Fine Arts Zanabazar Museum in Ulan Bator, where her research focuses on the history of Mongolian fine art and the study of Mongolian Buddhist art. She completed her bachelor’s and master’s programs in art studies at the National University of Mongolia, focusing on the topic of Zanabazar art, and she is currently pursuing a doctoral program. From 2014–16, she served as a lecturer in medieval art history at the Mongolian National University of Arts and Culture. Since 2014, she has compiled five catalogs that explore the history of Mongolian Buddhist art. She was a coauthor of the book Unique Masterpieces (2018). Since 2017, she has been a member of the Museum and Collection of fine Arts Committee of the International Council of Museums. |
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Jing Liu is an assistant professor at the Sichuan Fine Arts Institute, China. She received her PhD in art history from Peking University with a dissertation on religious art in southwest China from the tenth to thirteenth centuries. Building on this work, she published The Transformation and Creation of Images: A Study of Guardian Deities of the Song Dynasty in Dazu and Anyue, Sichuan (2024). She is currently working on a new book about natural aesthetics in Chinese landscape painting. Recently, her academic focus has expanded to explore the relationship between cultural heritage and community, including a project examining how patrons, tourists, and pilgrims have interacted with Buddhist carvings over time. As a curator at the Ptolemy Museum in Hong Kong, she is also interested in the spread of Western astronomical imagery in modern China, drawing insights from the museum’s collections. |
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Nadia Martin is an assistant researcher at the National Scientific and Technical Research Council of Argentina (CONICET), currently on a postdoctoral fellowship granted by the same institution until her appointment is formalized. She holds a PhD in comparative theory of the arts (CONICET-UNTREF), a master’s degree in visual arts curating (UNTREF), and a bachelor’s degree in communication sciences (UBA). Her research focuses on body, territorial, and techno-scientific imaginaries in contemporary artistic practices, with an emphasis on Latin America. It is framed by perspectives at the intersections of feminisms, new materialisms, and critical posthumanisms. She is involved in the PIP-CONICET and PICT-AGENCIA research projects. Among other distinctions, she is the recipient of the Goethe-Fellowshipat documenta Archiv, the ZUKOnnect Fellowship, and support from the Casa de Velázquez (Madrid). She teaches undergraduate and graduate courses at UNTREF and undergraduate courses at UBA. She is founder and manager of the ENROQUE art-in-territory project. |
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Oksana Remeniaka is a chief of department of sociocultural art studies at the Modern Art Research Institute of the National Academy of Arts of Ukraine (Kyiv). She is the author of books and numerous articles on art history and culture. Dr. Remeniaka was a Fulbright Research Scholar, conducting research at Columbia University’s Harriman Institute with the project (2019–20). Dr. Remeniaka is an expert in cultural processes of Polish-Ukrainian borderland, Ukrainian culture at the turn of the nineteenth century, diaspora visual arts of the interwar and postwar periods, and wartime Ukrainian modern art. She is the author of of numerous texts for modern art exhibits and projects in various Ukrainian museums and galleries, including A Chronicle of Inspiration in a Fierce Time (2023), Art in Times of Plague with a virtual catalog of artists’ works from Ukraine, Poland, the United States, Italy, and Georgia (2020). |
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Lucía Stubrin holds a PhD in history and theory of the arts from the Universidad de Buenos Aires and is a research professor at the Universidad Nacional de Entre Ríos (Argentina). She directs research projects within the framework of the Grupo de Estudio Biosemiótica, Arte y Técnica (GEBAT), and is an independent curator specialized in technopoetics. She is the author ofBioarte. Poéticas de lo viviente (2020, Eudeba/Ediciones UNL). Since 2010, she has received national (CONICET) and international (Getty Foundation, European Commission Erasmus Mundus, Fundación Carolina, AUGM) doctoral and postdoctoral grants for her research in the field of art-science-technology with emphasis on life sciences and bioart. Since 2023 she has been a research fellow at the Universidad de Barcelona. |
ALUMNI PARTICIPANTS
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Sarena Abdullah, PhD, is an associate professor of art history at Universiti Sains Malaysia. She received the prestigious London, Asia research award in 2017. Additionally, she participated in the CAA-Getty International Program in 2016 and was part of alumni panels in 2017 and 2019. Abdullah is the author ofMalaysian Art since the 1990s: Postmodern Situation (2018) andSeni Lukis di Malaysia sejak Tahun 1990–an: Situasi Pascamoden (2023) and coedited Ambitious Alignments: New Histories of Southeast Asian Art 1945–1990 (2018). Her extensive writings on Malaysian art are featured in renowned academic journals including TRaNS, Southeast of Now, and Wacana Seni, among others. She was the editor of Berita, a bulletin affiliated with the Malaysia, Singapore, Brunei (MSB) Studies group under the Association of Asian Studies (AAS) (2022–24). She is the current Chair of CAA’s International Committee. |
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Georgina G. Gluzman is a researcher at the Consejo Nacional de Investigaciones Científicas y Técnicas in Argentina. She is also an assistant professor of art history and gender studies at the Universidad de San Andrés in Buenos Aires. She received her PhD from the Universidad de Buenos Aires in 2015, having previously received an undergraduate degree in art history and a teaching certification. Her work focuses mainly on the art of nineteenth- and early twentieth-century Argentine women artists. She is the author of Trazos invisibles: Mujeres artistas en Buenos Aires (1890–1923) (2016). She has served as a guest curator and curatorial adviser at various institutions. Her research has been supported by the Getty Foundation and the Institut National d’Histoire de l’Art, among others. In 2023, she was a fellow at the Madrid Institute of Advanced Studies and the German Center for Art History (DFK) in France, undertaking a project on world’s fairs. |
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Iro Katsaridou is an art historian and museum studies scholar, and assistant professor at the School of Visual and Applied Arts, Aristotle University of Thessaloniki, Greece. Previously she was director of the MOMus-Thessaloniki Museum of Photography (2021–24), and curator at the Museum of Byzantine Culture of Thessaloniki (2005–21). Iro has curated exhibitions of historical and contemporary photography, coordinated the international photography festival Thessaloniki PhotoBiennale 2023 at MOMus, and was a member of the Organizing Committee for the 5th Fast Forward Women in Photography conference (Thessaloniki, 2024). Currently she serves as a coinvestigator in the UK’s Arts and Humanities Research Council (AHRC) funded Museum Dialogues program (2004–25) of the University of Sunderland. Iro has published on photography, socially engaged art history, and curatorial practices. Recently, she coedited with Eve Kalyva and Pamela Bianchi the collective volume Museums and Entrepreneurship. The Effects of Capitalising on Culture in the 21st Century (2024). |
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Ali Mahfouz is a Cultural Heritage Consultant at FalconViz, King Abdullah University for Science and Technology (KAUST). He began his career in 2012 as an archaeologist with Egypt’s Ministry of Antiquities and later served as director of the Mansoura Storage Museum from 2018–23. His expertise includes heritage and museum management, cultural heritage documentation, and the impact of conflict on art and heritage. Ali holds bachelor’s, postgraduate, and master’s degrees in archaeology and is pursuing a PhD. Throughout his career, Ali has contributed to the field with four published articles and a book. He has served as a jury member for international conferences such as ICOM-ICME in Azerbaijan, Prague, and Mexico. In 2021, he cofounded the Egypt Heritage Association and is a board member of the Egyptian National Committee of ICOM (2021–5). His research focuses on archaeology, decolonization, heritage conservation, and documentation technologies. |
This program is made possible with support from Getty through its Connecting Art Histories initiative.
CAA 2025 Board of Directors Election: Vote Now!
posted by CAA — December 11, 2024
As a CAA member, voting is the best way to shape the future of your professional association. Thank you for taking the time to vote!
The CAA Board of Directors is comprised of professionals in the visual arts who are elected annually by the membership to serve four-year terms (or, in the case of Emerging Professional Directors, two-year terms). The Board is charged with the long-term financial stability and strategic direction of CAA; it is also the Association’s governing body. The Board sets policy regarding all aspects of CAA activities, including publishing, the Annual Conference, awards and fellowships, advocacy, and committee procedures. For more information, please read the CAA By-laws on Nominations, Elections, and Appointments.
MEET THE CANDIDATES
The 2024–25 Nominating Committee has selected the following candidates for election to the CAA Board of Directors. Click the names of the candidates below to read their personal statements and CVs before casting your vote.
BOARD OF DIRECTOR CANDIDATES (FOUR-YEAR TERM, 2025–29)
Assistant Professor of Graphic Design and Interactive Arts
University of Wisconsin (Madison, WI)
Associate Professor of Architectural History and Theory
Vanderbilt University (Nashville, TN)
Executive Director
Estate of David Smith (New York, NY)
Research Scholar on Organization and Leadership in Higher Education
Columbia University (New York, NY)
Art History Lead Faculty
Berkeley City College (Berkeley, CA)
Principal Research Specialist for Digital Art History
Getty Research Institute (Los Angeles, CA)
EMERGING PROFESSIONALS BOARD OF DIRECTOR CANDIDATES (TWO-YEAR TERM, 2025–27)
PhD Candidate
UC Santa Cruz (Santa Cruz, CA)
Marketing and Communications Coordinator
Modern Art Museum of Fort Worth (Fort Worth, TX)
CAA members must cast their votes online. The deadline for voting is 5 p.m. ET on Thursday, February 13, 2025.
Elected individuals will be announced at the CAA Annual Business Meeting on Friday, February 14, 12:00–2:00 p.m. ET.
Questions? Contact Maeghan Donohue, CAA Director of Strategic Planning, Diversity, and Governance.
CAA113 Annual Artist Interviews Announced!
posted by CAA — December 06, 2024
Wendy Red Star (photograph by John D. and Catherine T. MacArthur Foundation) and Martha Rosler (photograph by Tina Barney)
CAA is thrilled to share that artists Wendy Red Star and Martha Rosler will be the featured guests of the CAA 113th Annual Conference Annual Artist Interviews! Red Star will be interviewed by Josh T Franco, head of collecting, Archives of American Art, and Charlotte Ickes, curator of time-based media art and special projects, National Portrait Gallery. Columbia University professor of art history and archaeology Julia Bryan-Wilson will speak with Rosler.
Wendy Red Star
Wendy Red Star is an Apsáalooke artist based in Portland, OR, whose multidisciplinary practice explores intersections of Apsáalooke history and colonial narratives through conceptual art and pop culture. Raised in Apsáalooke traditions, she uses her work to reframe historical narratives and amplify Apsáalooke perspectives.
Red Star’s work has been exhibited at major institutions, including the Metropolitan Museum of Art, the Broad, Fondation Cartier, and the Seattle Art Museum. Her monumental sculpture, The Soil You See . . ., debuted on the National Mall in Washington, DC, in 2023, and was later acquired by Tippet Rise Art Center.
Her work is in over eighty public collections, including the Museum of Modern Art, the Whitney Museum of American Art, and the British Museum. A 2024 MacArthur Fellow, Red Star’s artist’s books include Delegation (2022) and Bíilukaa (2023). She holds an MFA from UCLA and has lectured internationally, including at Yale University and the Banff Centre.
Martha Rosler
Martha Rosler’s work centers on the public sphere and everyday life, particularly with respect to women. Recurring themes include food in its many roles and guises, urbanism and spaces of transit, and war and national security. She has initiated a number of events in the US and Europe that bridge diverse publics, including garage sales, pop-up libraries, and a long-standing collaborative project that explores homelessness, housing, and the built environment. Through her varied artistic practice, writing, and activism, she challenges the mechanisms of power and their normalization within imagery, narrative, and discourse.
She has received numerous honors, including the Anonymous Was a Woman Award, the College Art Association Distinguished Feminist Award, the Women’s Caucus for Art Lifetime Achievement Award, the Oskar Kokoschka Prize, the Spectrum International Prize in Photography, the Guggenheim Museum Lifetime Achievement Award, the Asher B. Durand Award, the Lichtwark Prize, and four doctorates Honoris Causa.
Rosler lives in Greenpoint, Brooklyn, whose decades of gentrification have often figured in her work.
The CAA113 Annual Artist Interviews will be held on Friday, February 14, 4:30–7:00 p.m. ET at the New York Hilton Midtown. This event will also be livestreamed via YouTube.
Register now for the CAA 113th Annual Conference, February 12–15, 2025 in New York City!
Arts Council of the African Studies Association Releases Best Practice Guidelines for Provenance Research and Restitution
posted by CAA — December 04, 2024
In response to the increasingly pressing need to address principled and fair stewardship in institutions, ACASA has released new Guidelines for Provenance Research and Restitution. CAA acknowledges the critical need for this document and supports ACASA’s efforts.
From ACASA’s December 2 press release:
The new resource, the first-ever for museums in the United States, emphasizes collaboration and communication with Africa-based peers, descendant communities, and other knowledge-holding constituents in assessing and determining the futures of collections. Developed with support from the Mellon Foundation, this foundational document is publicly accessible and recommended for sharing with all U.S. collecting institutions.
The guidelines were developed over a three-year period by a working group of over seventy specialists from the United States, Africa, and Europe. The initiative began in 2021 and was informed by ongoing dialogue with Africa-based institutions, professionals, and community members. The final document, ratified by ACASA in August 2024, encourages museums to uphold their ethical responsibilities in their stewardship of African objects, in addition to any legal requirements. This includes promptly responding to return concerns and claims. It also recommends that U.S. museums demonstrate an institutional commitment to:
- transparency regarding collection holdings and information about object histories
- working with interested parties on the African continent on collaborations, including
- returns, within this field-wide framework of accepted practice
- prioritizing research on collection holdings
- disseminating information about African arts collections in accordance with ethical computing standards
ACASA is a U.S.-based professional organization, with over 1,800 members worldwide. For more than four decades, ACASA has championed African arts scholarship, connecting artists, researchers, curators and collections on the African continent, in North America, Europe and beyond. For more information about ACASA and how to join, visit acasaonline.org.
Notice of the CAA 113th Annual Business Meeting
posted by CAA — November 26, 2024
CAA Annual Business Meeting
Friday, February 14, 2025
12:00 p.m. ET
The 113th Annual Business Meeting of the members of the College Art Association will be called to order at 12:00 p.m. ET on Friday, February 14, 2025, at the New York Hilton Midtown. Access to this meeting is included in paid and no-cost registration. Once registered, please log into the online conference schedule to view more details about this meeting. CAA President, Dr. Denise Baxter will preside.
AGENDA
- Welcome + Call to Order – Denise Baxter, CAA Board President
- Executive Director Report – Meme Omogbai, CAA Executive Director + CEO
- Approval of 112th Annual Business Meeting Minutes [ACTION ITEM]
- Financial Report – Anthony Crisafulli, CAA Treasurer
- Old/New Business
- Board Election Results – Denise Baxter, CAA Board President
- Adjourn
SPECIAL DISCUSSION
Immediately following the CAA 113th Annual Business Meeting, Robert B. Townsend, Director of Humanities, Arts, and Culture Programs and Codirector of Humanities Indicators at the American Academy of Arts and Sciences, will lead a discussion on the state of the field based on the Mellon Foundation-funded Arts and Humanities national survey of department chairs in each discipline.
BOARD VOTING
The 2025 Board of Directors slate will be announced in December 2024 along with an online voting form. Please submit your voting form for the 2025 election no later than 5:00 p.m. ET on Thursday, February 13, 2025.
NEXT MEETING–2026
The 114th Annual Business Meeting of the College Art Association will be held in February 2026 at the Hilton Chicago during the CAA Annual Conference; precise date and time to be announced.
Jack Flam Named CAA113 Distinguished Scholar
posted by CAA — November 21, 2024
The Distinguished Scholar Session at the CAA 113th Annual Conference will honor the career of Dr. Jack Flam, explore the broad range of Dr. Flam’s scholarly interests, and celebrate his ongoing legacy of support and amplification of innovative voices in the field.
Dr. Flam is Distinguished Professor Emeritus of Art and Art History at Brooklyn College and the Graduate Center, City University of New York, where he taught from 1975–2010. Dr. Flam was also President of the Dedalus Foundation from 2002–24.
His career in education took hold at Rutgers University and the University of Florida, and he subsequently taught a wide range of courses at CUNY, where he was mentor to many students, both undergraduate and graduate, in studio art as well as art history. In addition to serving as a dissertation and thesis advisor, he continues to steadfastly support the professional lives of his former students.
Dr. Flam is the author of several books, articles, and exhibition catalogs on various aspects of nineteenth- and twentieth-century art, and on African art. He is a leading authority on Henri Matisse, and his influential book Matisse on Art has been in print since its publication in 1973. His Matisse: The Man and His Art, 1869–1918 received CAA’s Charles Rufus Morey Award in 1988. Dr. Flam’s other books include Motherwell (1991); Richard Diebenkorn: Ocean Park (1992); Matisse: The Dance (1993); Western Artists/African Art (1994); Matisse and Picasso: The Story of Their Rivalry and Friendship (2003); Manet: Un bar aux Folies-Bergère ou l’abysse du mirror (2005). He has written extensively on postwar American art, especially on Robert Motherwell. He is coauthor of Robert Motherwell Paintings and Collages: A Catalogue Raisonné, 1941–1991 (2012) and of Robert Motherwell: 100 Years (2015).
He is the series editor of the Documents of Twentieth-Century Art (currently published by the University of California Press) and in addition to Matisse on Art, has edited two volumes for it: Robert Smithson: The Collected Writings (1996) and Primitivism and Twentieth-Century Art (2003). He has served on a number of juries, committees, and boards focused on supporting artists and art historians, including the advisory board of Source: Notes in the History of Art and the board of directors of the United States section of the International Association of Art Critics. Dr. Flam was also the art critic of the Wall Street Journal from 1984–92.
He has been the recipient of several awards and honors, including fellowships from the John Simon Guggenheim Memorial Foundation and the National Endowment for the Humanities. He won the Art World Manufacturers Hanover Prize for Distinguished Newspaper Criticism in 1987.
His articles and reviews have appeared widely, including in African Arts, American Heritage, Apollo, The Art Bulletin, Artforum, Art in America, Art International, Art Journal, ARTnews, Connaissance des Arts, Arts Magazine, Connoisseur, Journal of African Studies, Journal de la Société des Africanistes, Leonardo, New York Review of Books, Storia dell’Arte, The Sciences, Source, and the Times Literary Supplement.
Dr. Flam’s career and his impact on the field will be celebrated with presentations and a dialogue with scholars and colleagues:
Session Chair:
Lisa Farrington, John Jay College of Criminal Justice, City University of New York
Session Participants:
Deborah Cullen-Morales, Mellon Foundation
Jennifer Farrell, Metropolitan Museum of Art
Julie Reiss, Columbia University
Linda Serrone Rolon, Artist
John Yau, Rutgers University
Register now for the CAA 113th Annual Conference, February 12–15, 2025, in New York City!
The CAA113 Distinguished Scholar Session will be held on Thursday, February 13, 4:30–6:30 p.m. ET at the New York Hilton Midtown. This event will also be livestreamed via YouTube.
Announcing the 2025 Morey Book Award and Barr Awards Shortlists
posted by CAA — November 18, 2024
Finalists for the Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Awards have been announced. The winners, alongside recipients of other Awards for Distinction, will be named in January 2025 and presented on Wednesday, February 12, during Convocation at the CAA 113th Annual Conference, in New York City. Congratulations to all of the finalists!
Charles Rufus Morey Book Award Shortlist
Named in honor of one of the founding members of CAA and first teachers of art history in the United States, the Charles Rufus Morey Book Award was established in 1953 to recognize an especially distinguished English-language book in the history of art.
Camera Geologica: An Elemental History of Photography by Siobhan Angus (Duke University Press, 2024)
Grief Made Marble: Funerary Sculpture in Classical Athens by Seth Estrin (Yale University Press, 2023)
Not Native American Art: Fakes, Replicas, and Invented Traditions by Janet Catherine Berlo (University of Washington Press, 2023)
Pearls for the Crown: Art, Nature, and Race in the Age of Spanish Expansion by Mónica Domínguez Torres (Penn State University Press, 2024)
Risk Work: Making Art and Guerrilla Tactics in Punitive America, 1967–1987 by Faye Raquel Gleisser (University of Chicago Press, 2024)
Alfred H. Barr Jr. Award Shortlist
Named for the founding director of the Museum of Modern Art and a scholar of early-twentieth-century painting, the Alfred H. Barr Jr. Award is presented to the author or authors of an especially distinguished catalogue in the history of art, published in English by a museum, library, or collection.
Brilliant Exiles: American Women in Paris, 1900–1939, edited by Robyn Asleson (The National Portrait Gallery, Smithsonian Institution/Yale University Press, 2024)
Camille Claudel, edited by Emerson Bowyer and Anne-Lise Desmas (J. Paul Getty Museum/The Art Institute of Chicago, 2023)
The Harlem Renaissance and Transatlantic Modernism, edited by Denise Murrell (The Metropolitan Museum of Art, 2024)
Mark Rothko: Paintings on Paper by Adam Greenhalgh (Yale University Press, 2023)
Woven Histories: Textiles and Modern Abstraction, edited by Lynne Cooke (The University of Chicago Press, 2023)
Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions Shortlist
Established in 2009, the Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions is presented to the author(s) of catalogues produced by an institution with an operating budget of less than $10 million.
A Model Workshop: Margaret Lowengrund and The Contemporaries, edited by Lauren Rosenblum and Christina Weyl (Print Center New York/Hirmer, 2023)
Never Broken: Visualizing Lenape Histories, edited by Joe Baker and Laura Igoe (James A. Michener Art Museum/University of Pennsylvania Press, 2024)
Younes Rahmoun: Here, Now, edited by Emma Chubb, Omar Berrada, Alexandra Keller, Fatima-Zahra Lakrissa, et al. (Smith College Museum of Art/Zamân Books & Curating/Kunsthalle Mulhouse/Kulte Editions, 2024)
Mariët Westermann, Director and CEO of the Solomon R. Guggenheim Museum and Foundation, to deliver CAA113 Convocation Keynote Address
posted by CAA — November 13, 2024
We are delighted to announce that Dr. Mariët Westermann, Director and CEO of the Solomon R. Guggenheim Museum and Foundation, will deliver the Convocation keynote address at the CAA 113th Annual Conference!
As Director and CEO of the Solomon R. Guggenheim Museum and Foundation, Dr. Westermann directs the Guggenheim’s flagship in New York and oversees the Guggenheim sites in Venice, Bilbao, and Abu Dhabi. Previously, Dr. Westermann was founding Provost at NYU Abu Dhabi, and later Vice Chancellor and Chief Executive. She has also served as Executive Vice President of the Mellon Foundation and Director of NYU’s Institute of Fine Arts.
A historian of art of the Netherlands, Dr. Westermann has authored numerous books, articles, and exhibition essays on Dutch art and artists, museums, and the state and future of higher education. On behalf of the Mellon Foundation, Dr. Westermann commissioned and published (with Roger Schonfeld and Liam Sweeney) two critical research studies on staff diversity in the museum sector.
Dr. Westermann was the lead curator and catalogue author of the exhibition Art and Home: Dutch Interiors in the Age of Rembrandt, shown at the Denver Art Museum and The Newark Museum (1997–2001). She served as curatorial consultant, researcher, and essayist for the National Gallery’s presentation of Jan Steen: Painter and Storyteller (1994–96), in partnership with the Rijksmuseum, Amsterdam.
In 2020, Dr. Westermann co-convened Reframing Museums, a major international conference on the future of museums, organized with NYU Abu Dhabi and Louvre Abu Dhabi. In 2010, on behalf of the NYU Abu Dhabi Institute, she co-hosted Art Museums Here and Now, a conference with Philippe de Montebello on what it means to build art museums in countries that have not had them or reinvent traditional art museums to stay connected to their changing societies.
Dr. Westermann is a trustee of ALIPH and the Rijksmuseum and chairs the IIE Scholar Rescue Fund.
Join us for the CAA 113th Annual Conference, February 12–15, at the New York Hilton Midtown! Convocation will be held on February 12, 6:00–8:30 p.m. ET and will also be livestreamed via YouTube. Register now!
Register for CAA113 New York City Gallery Tours!
posted by CAA — October 21, 2024
Join art critic, writer, and expert gallery guide Merrily Kerr for walking tours of select Chelsea and Tribeca galleries during the CAA 113th Annual Conference in February 2025. Registrants can visit six or seven of the season’s most notable shows on one of four different tours.
Space is limited, so register now using the links below! The cost to register for each tour is $40.00.
Walking Tour Schedule
- Chelsea: Wednesday, February 12, 12:30–3:00 p.m. ET
- Chelsea: Thursday, February 13, 12:30–3:00 p.m. ET
- Tribeca: Friday, February 14, 12:30–3:00 p.m. ET
- Chelsea: Saturday, February 15, 2:00–4:30 p.m. ET
Additional Information
Registrants will meet at their designated tour start time at the main entrance of the New York Hilton Midtown lobby.
In addition to the $40.00 registration fee, registrants should be prepared to spend an additional $5.80 on round-trip transportation via subway from the hotel to the galleries. Registrants can tap a contactless credit or debit card or a smartphone to pay for travel at the subway turnstile.
Tours will take place regardless of weather conditions.
Please contact Merrily Kerr directly with questions.