CAA News Today
CAA 2017 Convocation, President’s Address: “Art Matters”
posted by Suzanne Preston Blier, President, the College Art Associatio — February 24, 2017
Art Matters. Art has always mattered. Whether we are art scholars or artists, critics or designers, gallery goers or museum professionals, art matters to all of us a great deal. Equally importantly, art matters – critically – to the societies in which we live and work. Fifty years ago this week (February 14,1967) as Aretha Franklin recorded her soon to become hit song, Respect, and Martin Luther King, Jr. prepared to denounce the Vietnam War in an April 4th New York city religious service, Faith Ringgold was creating her celebrated Black Light series, addressing the impact of race riots and other issues of the era. More recently, in 1990 when South African Apartheid finally ended, and Nelson Mandela and other political prisoners were released from incarceration, the important work of South African artists – black and white, men and women –in bringing inequality and racism into public view began to be broadly acknowledged. Within the last few weeks, the Museum of Modern Art began a project to rehang works by artists from majority-Muslim nations facing travel bans to this country. Art matters.
As the one hundred and fifth College Art Association’s Annual Conference gets underway, it is imperative that we reflect on these and related art issues, on the close connections between art making and activism and the vital roles that artists, art scholars and other professionals play in tackling critical issues of the day, whether it be war, racism, sexism, or other forms of discrimination and ethical derogation. Art Matters. It serves as a vital site not only of engagement and resistance, advocacy and education, problem solving and invention, but also as a vital means of opening up and re-envisioning the world around us. Art matters to us both as individuals and as part of the societies in which we live and work. In an era of increasing attacks not only on the humanities, social sciences, and sciences, but also on the arts, the importance of CAA as the leading organization that brings together practitioners and scholars within the same broad umbrella is all the more important. CAA offers a unique platform to reengage at the local, national, and international level. The so-called STEM fields (science, technology, engineering and math) are important, but they do not overshadow the arts and humanities. Indeed, throughout history, each has often enhanced the other.
Arts Matter. Yet I have a confession: there was a key moment in my life when I did not feel this. It was the summer after my Freshman year in college at the University of Vermont. I was working in the Senate when one bleak morning I found myself in tears standing in Dupont Circle watching as Bobby Kennedy’s body arrived here in the hearse after his assassination. Martin Luther King Jr. had been shot a few months earlier. I returned to college that Fall but concluded soon after that art history and studio art were simply not enough. I quit college at the end of that year to join the Peace Corps. It was here, in Africa, where I first realized politics and art were integrally co-joined. Every book I read on African art was worse than the last. The field needed a correction, art history needed a correction, and after my two-year term ended, I returned home to finish my degree and make plans to attend graduate school with a focus on African art.
CAA then, as today, was a big deal. Elation and genuine fear were my initial emotions when my first CAA paper proposal was accepted– on a politically fraught panel addressing Semiotics and Art chaired by Henri Zerner. Much later we would become colleagues. These kinds of connections are part of what makes CAA so important. For me, a timely Art Bulletin article no doubt helped with tenure. But well before then I felt it was important to engage more formally with CAA – as much for African Art as anything else. It was for that reason that I ran for the CAA Board of Directors – and years later ran a second time. When I was a graduate student, many still believed that Africa had no arts outside of Egypt, and Egypt itself was part of a strange exo-African nether world somewhere between Mesopotamia and Greece. African art, if it was considered art at all, was assumed to be primitive. CAA for me was where the real political work began, through CAA board connections, I and others persuaded the editor at Abrams to drop the “Primitive Art” chapter from Janson’s best-selling History of Art textbook. In due course, African and African diaspora arts, and those who made and studied them, began reshaping not only art departments around the country, but also exhibitions, major journals, book publications and key prizes within CAA and other organizations. It was CAA that played a central and ongoing role in this.
What had begun for me at CAA as an engagement about my field, soon blossomed into other issues – open access to museum collections in publishing for example. When I was a board member initially, one of our group began to work with the Metropolitan Museum to make their art photographs accessible on the web. This effort continued and on February 7th, one week ago, the Metropolitan announced that all images of public-domain works in the Met collection will now be available under Creative Commons. This is a huge step forward that will benefit us all. So too has been CAA’s path-forging efforts on Fair Use one of our most important and indeed revolutionary undertakings, for which I and others already are seeing considerable savings in terms of finances and time.
Art Matters. CAA members working together have achieved important ends. But we can and must do more. Art access inequality is not the only issue to attend to. Access to quality higher education is a vital concern for both us and our students, as are questions of student loan fees and affordability, along with the ability of professionals in our field to gain a viable living and secure employment in educational and art-linked institutions. I benefitted from my undergraduate training at a then inexpensive public university; my graduate school education would not have been possible without affordable student loans. I could not have written my Ph.D. without a government funded Fulbright fellowship. For me and many others, book projects would not have been completed without an NEH grant or others at tax supported institutions such as CASVA, the Clark, and the Getty. Museum exhibitions funded by both NEA and NEH are critical to what we do, and these same museums bring in billions of dollars in revenue to local cities and towns.
Art matters. And this is where CAA is critical as an organization, focusing with a new sense of urgency not only on the longstanding programs where we have excelled but also speaking out on core issues that are important to all of us – such as diversity, equal access, and sustainability. Social Activism is a key part of CAA’s Strategic Plan now. As we move forward, changes in CAA that are already underway and will become more evident shortly will help make our organization even stronger and more engaged – from the reenergized annual conference, to a far more dynamic web presence, from larger roles for our affiliated societies, to added benefits that will help members in their professional and personal loves. Art Matters. It matters to us. It matters to the communities and broader societies in which we live and work.
Suzanne Preston Blier
Thank You For CAA2017
posted by admin — February 21, 2017
Thank you everyone who made this 2017 Annual Conference in New York a lively and vibrant event. The CAA staff, board, and myCAA helpers spoke with as many attendees as we could and attended as many sessions as we could. From what we heard at the conference, through official feedback channels and informal hallway conversations, people had a good time and learned. Attendees felt challenged and invigorated by the discussions. That is all we can ask. We received positive responses to our themes of inclusion, problem solving, and feedback. The shortened ninety-minute sessions were welcomed and attendees shared that the addition of more sessions on diversity and current politics gave the conference a much-needed vitality. For our attendees, we hope that myCAA collectively felt like ourCAA.
We look forward to carrying this energy and momentum into the 2018 Annual Conference in Los Angeles, February 21-24, 2018.
There will be many, many more images to come in the next few weeks. But here are a few that we wanted to share right away.
Live-Streamed Sessions at CAA
posted by admin — February 13, 2017
CAA will present six 2017 Annual Conference sessions and events via live stream. The sessions will be streamed via CAA’s YouTube Channel. There is no charge to watch these sessions—they are free and open to the public.
Here is the schedule:
- Wednesday, February 15, 5:30–7:00 PM: Convocation, the Awards for Distinction presentations, and Mary Miller’s keynote address
- Thursday, February 16, 10:30 AM–noon: Public Art in the Era of Black Lives Matter
- Thursday, February 16, 12:15–1:30 PM: Key Conversations: Art Criticism
- Thursday, February 16, 5:30–7:00 PM: the Distinguished Scholar Session honoring Kaja Silverman
- Friday, February 17, 3:30–5:30 PM: Artist Interviews: Coco Fusco with Steven Nelson and Katherine Bradford with Judith Bernstein
- Saturday, February 18, 12:15–1:15 PM: Key Conversations: Hrag Vartanian with Amin Husain and Nitasha Dhillon of Decolonize This Place
Use the hashtags #caa2017 and #myCAA during the entire conference week!
Hunter O’Hanian Welcomes you to CAA 2017
posted by admin — February 06, 2017
A message from CAA Executive Director Hunter O’Hanian about the 2017 Annual Conference
Greetings,
I am very much looking forward to my first Annual Conference as CAA’s new Executive Director. I think the Annual Conference Committee has done a great job presenting an amazing lineup of sessions and the CAA staff has worked hard to make sure that this will be one of the best conferences ever. Many thanks to Tiffany Dugan, Paul Skiff, Katie Apsey and the rest of the Annual Conference staff who have put in so many hours.
But we also need your help at the Annual Conference.
I’d like every attendee to think about three central ideas which will make the experience more rewarding for you and your fellow attendees.
Create an atmosphere of Inclusion – We’ve heard from past participants that they have not always felt welcome by other CAA members. Some have said that they felt marginalized due to their age, experience, or even the color of their skin. Others have said they felt somewhat judged by other CAA members based solely upon what is printed on their name badge.
Obviously we do not want any CAA member to feel this way. While the CAA staff and board will work to make everyone feel welcome and included, we ask they you do the same. Extend your hand and say hello to a stranger. Say hi to the person sitting next to you at a session. Chat with someone new in the elevator or in a coffee line. Together, we can work to make all of our members feel included.
We want to solve your problems – This year there will be more than 4,000 people in attendance at the conference. In essence, we will be creating a small town at the New York Hilton Midtown for the week. Inevitably, problems will crop up – and we want to solve them.
If you find you are having problems with membership, registration, locating information, please look for one of the CAA staff members wearing the “Ask Me!” button. They will try to quickly understand the issue and get you to someone who can resolve it as soon as possible. We are here to help and that’s what we intend to do!
We want your feedback – Building a CAA for the 21st century is the most important work ahead of us. We cannot do that without hearing what you need to help you in your respective professional fields. We need to hear from you. If you completed the recent survey, many thanks. Those results will be processed shortly.
The field and the organization is changing rapidly and we cannot strengthen it properly without hearing what you need and want. We encourage you to vote in the election for the new board of directors, either on the CAA website or on the CAA Annual Conference App. We encourage you to attend the myCAA session on Friday, February 17, 2017 at 12:15PM. If you cannot attend the session, email us noting a few things that you appreciate about CAA and a few things you would like to see improved. Or leave your comments on CAA Connect in the myCAA Discussion Community. What are the current benefits you value and what benefits would you like to see us add in the future?
Many thanks for taking the time to think about these key messages and I look forward to seeing you at the Annual Conference.
Best,
Hunter O’Hanian
Executive Director and Chief Executive Officer
Scholars and Artists Impacted by Travel Ban
posted by admin — February 02, 2017
Like many around the world, CAA is concerned with the direction the current US government has taken with regard to international travel in and out of the United States. We view this as having a potentially chilling effect on artistic and academic freedoms. CAA has taken a stand in strong opposition to the current executive order.
However, we would like to do more if we can. If you are planning to attend the 2017 Annual Conference from another county and have been impacted by the travel ban we ask that you contact us immediately. Email our membership department or call 212-691-1051, ext. 1. We will endeavor to assist you in any way we can.
You may also use this Google Form to submit a query if you have been impacted by the immigration ban.
Artifex Press Catalogues Raisonnés – Introductory Webinar Invitation
posted by admin — January 27, 2017
Artifex Press, a publisher of digital catalogues raisonnés, is proud to launch their subscription service in February 2017. Currently available are catalogues raisonnes for Chuck Close, Jim Dine, and Tim Hawkinson; and in February 2017 they will release Agnes Martin and James Siena; later in 2017 they will publish Sol LeWitt and Lucas Samaras. Sign up for an introductory webinar about their platform, including a presentation by Tiffany Bell, Editor of their Agnes Martin Paintings catalogue and co-curator of the traveling 2015 – 2017 Agnes Martin Retrospective, which began at the Tate and just closed at the Solomon R. Guggenheim Museum.
Don’t forget to also visit their booth (#1111) at the 2017 CAA Conference!
myCAA Post-it Wall
posted by CAA — January 20, 2017
The myCAA Post-it Wall, located near registration on the Hilton’s second floor, is where attendees can post their notes, scribbles, messages, heartfelt missives, and anything else they feel like sharing on a myCAA Post-it. The myCAA Post-it pads will be easy to find and pick up around the conference. Get yours at CAA’s booth in the Book and Trade Fair, in the registration booth, or at the hospitality booth.
Hospitality Booth
posted by CAA — January 19, 2017
At the New York conference you will find a hospitality booth, where CAA staff and conference help will be stationed to answer questions about sessions and the Book and Trade Fair, or for directions to the restrooms, the lactation room, or the quiet room. Located on the second floor of the Hilton near the registration area, the hospitality booth is intended to make CAA members feel welcome at the conference. The CAA team will also be filming interviews with members at the hospitality booth.
Pearson at the CAA Conference
posted by admin — January 12, 2017
The Pearson Art team is excited to be a part of the upcoming CAA Conference in New York City!
Come Visit Us at the Booth!
Stop by Pearson’s booth #505/507 to take part in our student-lead Revel demonstrations. All demo participants will be entered into a raffle to win the grand prize of an iPad mini! While at the booth you will also be able to see the new 6th edition of Stokstad & Cothren’s Art History.
Please join us in honoring the memory of Art History’s lead author, Marilyn Stokstad, at our booth reception at 3:00 pm on Friday, February 17th. We will also be hosting a Manhattan’s for Marilyn reception following the Marilyn Stokstad: A Memorial Roundtable session at 5:30 pm later that same day. All are welcome to attend.
In addition, Pearson is proud to announce the Marilyn Stokstad Graduate Student Scholarship which has been created to help pass on Marilyn’s legacy to the next generation of Art History teachers. We will have more details on this opportunity for your students available at the booth.
Participate in a Focus Group
On Thursday, February 16th & Friday, February 17th, we will be hosting a series of focus groups. We’re looking to connect with faculty members who specifically teach Art History survey courses. Each session is 90 minutes and participants will receive a $100 honorarium. Light snacks and refreshments will be served.
Interested in signing up? Please complete this brief survey to RSVP.
Space is limited so please reply right away if you are able to attend. We will try to accommodate as many respondents as possible.
Thank you and we are looking forward to seeing you in New York City!
Sincerely,
The Pearson Art Team
2017 Recipients of CAA’s Awards for Distinction
posted by admin — January 09, 2017
CAA announces the recipients of the 2017 Awards for Distinction, which honor the outstanding achievements and accomplishments of individual artists, art historians, authors, conservators, curators, and critics whose efforts transcend their individual disciplines and contribute to the profession as a whole and to the world at large.
CAA will formally recognize the honorees at a special awards ceremony to be held during Convocation at the 105th Annual Conference in New York, on Wednesday, February 15, 2017, at 5:30 PM. See the conference website for full details.
Among the winners this year is Kerry James Marshall, recipient of the 2017 CAA Artist Award for Distinguished Body of Work. In his 35-year career painting and making art, Marshall has depicted the African American experience through a medium that has often overlooked the lives of black Americans. His current retrospective at the Met Breuer, titled “Kerry James Marshall: Mastry” (October 25, 2016–January 29, 2017), brings together nearly 80 works by Marshall. Holland Cotter in The New York Times wrote of the show glowingly: “Mr. Marshall has absorbed enough personal history, American history, African-American history and art history to become one of the great history painters of our time.”
Kerry James Marshall biography
Faith Ringgold, the winner of the 2017 CAA Distinguished Artist Award for Lifetime Achievement, is widely considered one of the most influential living African American artists. Born in Harlem in 1930, she is an artist, feminist, activist, and educator who makes use of a variety of media, including painting, quilts, sculpture, performance, and children’s books. Civil Rights, racial justice, feminism, and art history are consistent themes. Ringgold earned BS and MA degrees in art from the City College, the City University of New York, and taught in the NYC public school system for almost twenty years. Since the 1970s Ringgold has been an activist and cofounder of several feminist and antiracist organizations, along with artist Poppy Johnson, art critic Lucy Lippard, and her daughter Michelle Wallace, among others.
Full list of 2017 CAA Awards for Distinction recipients
Charles Rufus Morey Book Award
Kishwar Rizvi
The Transnational Mosque: Architecture and Historical Memory in the Contemporary Middle East
University of North Carolina Press
Alfred H. Barr Jr. Award
Ruth Fine, ed.
Procession: The Art of Norman Lewis
Pennsylvania Academy of the Fine Arts, in association with the University of California Press
Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions
Carmella Padilla and Barbara Anderson, eds.
A Red Like No Other: How Cochineal Colored the World
Skira Rizzoli, in association with the Museum of International Folk Art
Arthur Kingsley Porter Prize
Christine I. Ho
“The People Eat for Free and the Art of Collective Production in Maoist China”
The Art Bulletin, September 2016
Frank Jewett Mather Award for Art Criticism
Laura U. Marks
Hanan al-Cinema: Affections for the Moving Image
MIT Press
Distinguished Feminist Award
Joan Marter
Art Journal Award
Amy A. DaPonte
“Candida Höfer’s Türken in Deutschland as ‘Counter-publicity’”
Art Journal, Winter 2016
Distinguished Teaching of Art Award
Virginia Derryberry
Distinguished Teaching of Art History Award
Patricia Mainardi
Artist Award for Distinguished Body of Work
Kerry James Marshall
Distinguished Artist Award for Lifetime Achievement
Faith Ringgold
CAA/American Institute for Conservation Award for Distinction in Scholarship and Conservation
Tom J. S. Learner
Morey and Barr Award Finalists
CAA recognizes the 2017 finalists for the Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Awards for their distinctive achievements:
Charles Rufus Morey Book Award Finalists
- Niall Atkinson, The Noisy Renaissance: Sound, Architecture, and Florentine Urban Life, Pennsylvania State University Press
- Elizabeth Kindall, Geo-Narratives of a Filial Son: The Paintings and Travel Diaries of Huang Xiangjian (1609–1673), Harvard University Asia Center
Alfred H. Barr Jr. Award Finalists
- Helen Molesworth, ed., Kerry James Marshall: Mastry, Museum of Contemporary Art, Chicago, and Skira Rizzoli (honorable mention)
- Barbara Haskell and Harry Cooper, Stuart Davis: In Full Swing, National Gallery of Art, Whitney Museum of American Art, and DelMonico Books
- Alisa LaGamma, Kongo: Power and Majesty, Metropolitan Museum of Art
- Adrian Sudhalter, Dadaglobe Reconstructed, Kunsthaus Zürich and Scheidegger & Spiess
Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions Finalists
- Andreas Marks, ed., Tōkaidō Texts and Tales: Tōkaidō “gojūsan tsui” by Kuniyoshi, Hiroshige, and Kunisada, University Press of Florida (honorable mention)
- Zdenka Badovinac, Eda Čufer, and Anthony Gardner, eds., NSK from “Kapital” to Capital: Neue Slowenische Kunst—An Event of the Final Decade of Yugoslavia, Moderna galerija and MIT Press
- Geoffrey Batchen, Emanations: The Art of the Cameraless Photograph, Govett-Brewster Art Gallery and DelMonico Books
- Valérie Rousseau, Art Brut in America: The Incursion of Jean Dubuffet, American Folk Art Museum
Contact
For more information on the 2017 Awards for Distinction, please contact Tiffany Dugan, CAA director of programs. Visit the Awards section of the CAA website to read about past recipients.