CAA News Today
Digital Humanities at the 110th Annual Conference
posted by CAA — February 03, 2022
The upcoming Annual Conference this winter and spring will feature a number of sessions that discuss issues related to the digital humanities and art. See below for links to explore sessions that relate to these topics in the conference schedule.
See the rest of this year’s conference schedule online! Register for CAA’s upcoming conference and learn more at our registration page. After you register, sign into the app and create your own custom schedule using the tools and filtering options on the side (switch time zones in the upper left of the app: CST for in-person and your own time zone for virtual).
Sessions on Digital Humanities
Critical Cataloging Conversations in Teaching, Research, and Practice
VISUAL RESOURCES ASSOCIATION (VRA)
Friday, February 18, 2022
11:00 a.m. – 12:30 p.m. CST (12:00 p.m. – 1:30 p.m. EST)
Bridget Madden, University of Chicago
Dismantling the Patriarchal Canon: Foregrounding Women Artists and Patrons through Digital Art History
DIGITAL ART HISTORY SOCIETY
Friday, March 4, 2022
11:00 a.m. – 12:30 p.m. CST (12:00 p.m. – 1:30 p.m. EST)
Tracy Chapman Hamilton
Dana Hogan, Duke University
Mariah Proctor-Tiffany, California State University, Long Beach
Archival Imaginaries and Futurities in Contemporary Art from SWANA
Saturday, February 19, 2022
4:30 p.m. – 6:00 p.m. CST (5:30 p.m. – 7:00 p.m. EST)
Lara Fresko Madra, Cornell University
Kareem Estefan, Brown University
New frontiers: creating, collecting, preserving and displaying digital based art of Russia and Eastern Europe
Saturday, February 19, 2022
4:30 p.m. – 6:00 p.m. CST (5:30 p.m. – 7:00 p.m. EST)
Natalia Kolodzei, Kolodzei Art Foundation
The Living Catalogue Raisonné
CATALOGUE RAISONNÉ SCHOLARS ASSOCIATION
Saturday, February 19, 2022
9:00 a.m.– 10:30 a.m. CST (10:00 a.m. – 11:30 a.m. EST)
Joan Pachner
Marin R Sullivan, Sculptural Things
Digital Realms in Practice
Thursday, February 17, 2022
4:30 p.m.- 6:00 p.m. CST (5:30 p.m. – 7:00 p.m. EST)
Diverse Resources for New Media
Thursday, February 17, 2022
4:30 p.m.- 6:00 p.m. CST (5:30 p.m. – 7:00 p.m. EST)
Nadav Assor, Connecticut College
New frontiers: creating, collecting, preserving and displaying digital based art of Russia and Eastern Europe
Saturday, February 19, 2022
4:30 p.m.- 6:00 p.m. CST (5:30 p.m. – 7:00 p.m. EST)
Natalia Kolodzei
Kolodzei Art Foundation
Making Media Social: An Examination of Video and Television in the History of Political Activism of the 1970s
Thursday, February 17, 2022
9:00 a.m.– 10:30 a.m. CST (10:00 a.m. – 11:30 a.m. EST)
Corinna Kirsch, Stony Brook University
Brock Lownes, Stony Brook University
The Problem of Mapping Social Justice On The Social (Creative) Body In an Era Of NFT’s
Saturday, March 5, 2022
11:00 a.m. – 12:30 p.m. CST (12:00 p.m. – 1:30 p.m. EST)
Gale Elston, CUNY
(inappropriate) digital intimacies
Saturday, March 5, 2022
2:30 p.m. – 4:00 p.m. CST (3:30 p.m. – 5 p.m. EST)
Francesca Balboni, University of Texas at Austin
Meet the 2022 CAA Annual Conference Support Grant Recipients
posted by CAA — February 03, 2022
CAA offers Annual Conference support grants to graduate students in art history and to international artists and scholars. Meet this year’s recipients of our named support grants and find information about their presentations at the conference and their corresponding session below. Dozens of other support grants were given to CAA members through the Presidents Council of CAA and the “Pay it Forward” initiative.
CAA TRAVEL GRANT IN MEMORY OF ARCHIBALD CASON EDWARDS, SENIOR, AND SARAH STANLEY GORDON EDWARDS
The CAA Support Grant in Memory of Archibald Cason Edwards, Senior, and Sarah Stanley Gordon Edwards was made possible by Mary D. Edwards. The grant supports women who are emerging scholars at either an advanced stage of pursuing a doctoral degree or who have received their PhD within the two years prior to the submission of the application.
Kristan Hanson, Dumbarton Oaks
Presentation at the Annual Conference: “Nurturing Growth: Eva Gonzalès’s La Plante favorite and Berthe Morisot’s Fillette aux jacinthes”
Session: Enchanted by Nature: Picturing Gendered Plants and Female Agency in Europe and China (17th – 19th Century)
Kristan M. Hanson is an art historian and plant humanist. Her research examines the historical significance of individual plants and botanical forms in art to deepen understandings of human/plant interactions and anthropogenic environmental change. She currently holds a consultancy as Managing Digital Editor for the Plant Humanities Initiative at Dumbarton Oaks, prior to which she was a 2020–2021 academic year fellow. Hanson has also received fellowships and awards to support her research from the Oak Spring Garden Foundation, HASTAC Scholars program, Hall Center for the Humanities, and Institute for Digital Research in the Humanities.
Cynthia Kok, Yale University
Presentation at the Annual Conference: “’Een bloempoth van parlemoer’: Painting Life in Dirck van Rijswijck’s Mother-of-Pearl Floral Panels”
Session: Analogous Matter: Skeuomorphism as Method
Cynthia Kok is a Ph.D. candidate at Yale University. Her dissertation focuses on sensorial engagement in making and craft experiments with mother-of-pearl in the early modern Dutch world. Cynthia received her MA from Bard Graduate Center and her BA from the University of California, Berkeley. She has held curatorial internships at the Metropolitan Museum of Art’s Costume Institute, the Frick Collection, and the Smithsonian American Art Museum and she is the 2021-2023 Kress History of Art Institutional Fellow at the Leiden University Centre for the Arts in Society (LUCAS).
Honorable Mention:
Shoghig Halajian, University of California San Diego
Presentation at the Annual Conference: “Destroying the Form: On the Spatial Politics of Rafa Esparza’s bust: A Mediation on Freedom”
Session: Monumentality in Art: Memory, History, and Impermanence in Diaspora
Shoghig Halajian is a curator and art historian, who serves on the Board of Directors at Human Resources LA and was previously Assistant Director at LACE (Los Angeles Contemporary Exhibitions). She is co-editor of the online journal Georgia, in collaboration with Anthony Carfello and Suzy Halajian, which is supported by a Creative Capital | Andy Warhol Foundation Arts Writers Grant. She has presented projects at the Hammer Museum and the ONE Archives at USC Libraries in Los Angeles; Le Magasin–National Center for Contemporary Art in Grenoble; Al Ma’mal Foundation for Art in Jerusalem, UKS in Oslo, among others. She was a 2021 Research Fellow at Ocean Space–TBA 21 in Venice. She is a Ph.D. candidate in Art History, Theory and Criticism with a Critical Gender Studies emphasis at University of California, San Diego, where her research explores contemporary queer aesthetics and performance through a critical race lens, focusing on artistic experiments with collaboration.
SAMUEL H. KRESS FOUNDATION CAA CONFERENCE SUPPORT FELLOWSHIP FOR INTERNATIONAL SCHOLARS
Recognizing the value of the international exchange of ideas and experience among art historians, the Kress Foundation is offering support for international scholars participating as speakers at the 2022 CAA Annual Conference. The scholarly focus of the papers must be European art before 1830.
Lorenzo Vigotti, Kunsthistorisches Institut in Florenz
Presentation at the Annual Conference: “Diplomatic Exchanges and Architectural Inventions along the Silk Road: The Case of Soltaniyeh and Santa Maria del Fiore”
Session: Beyond the Silk Road
Lorenzo is a trained architect with a M. Arch. from the University of Florence, Italy, and a Ph.D. in architectural history from Columbia University with a dissertation on the origin of the Renaissance palace. He is currently a post-doc at the Kunsthistorisches Institut in Florence, where he studies the shift in spatial organization in domestic residences between the 14th and the 15th century, with an emphasis on early collecting practices and the birth of the studiolo as a manifestation of power by the urban oligarchy. Together with Shahid Beheshti University in Tehran, Iran, Lorenzo is exploring the circulation of architectural knowledge between medieval Persia and Italy, specifically the materiality and the problems of preservation of brick dome structures. Finally, he oversees the virtual reconstruction of the now lost Florentine ghetto at the Medici Archive Project.
Ana Cristina Howie, University of Cambridge
Presentation at the Annual Conference: “’Favoured Black Attendants’ in ‘Splendid State Portraits’? Genoese merchants, Flemish painters, and the Spanish Atlantic Slave Trade”
Session: Archive, Object, Image: Reading Against the Grain in the Dutch and Spanish “Golden Ages”
Ana is originally from New Zealand and completed her bachelor’s degree in the History of Art and French at the University of Auckland. She continued her studies at the Université Paris-Sorbonne, then earned her MA in the History of Art at the Courtauld Institute in London, specializing in early modern Netherlandish artistic production. She began her PhD under the supervision of Professor Ulinka Rublack at the University of Cambridge in 2019, funded by the Prince of Wales International Scholarship. Her doctoral research investigates the relationships between women, dress, and portraiture in seventeenth-century Genoa, with a focus on the oeuvres of Flemish painters Peter Paul Rubens and Antony van Dyck. She is the recipient of the inaugural Society for Renaissance Studies/British School in Rome Residential Doctoral Research Scholarship for 2021/22. Her work and projects have been supported by the Royal Historical Society, Centre for Research in the Arts, Social Sciences and Humanities, Magdalene College, Cambridge, and the Cambridge Trust.
Iro Katsaridou, Museum of Byzantine Culture, Thessaloniki, Greece
Presentation at the Annual Conference: “Through Foreign Eyes: Curating the 1821 Greek War of Independence”
Session: Instrumentalizing Memory and the Politics of Commemoration
Iro Katsaridou was recently (2021) appointed Director of the Thessaloniki Museum of Photography, Greece. Previously, she has worked as curator of modern and contemporary art at the Museum of Byzantine Culture in Thessaloniki. She studied art history at the Aristotle University of Thessaloniki and the Université Paris I-Sorbonne, and also pursued museum studies at the City University of New York. Her doctoral dissertation (Aristotle University, 2010) focused on contemporary Greek photography. Iro has researched photography and art in wartime (World War I and II), curated exhibitions and edited related catalogues in this particular field. More recently (2021) she has curated an exhibition at the Museum of Byzantine Culture on the aspects of Philhellenic movements in art and the Greek War of Independence. She has taught as adjunct faculty at several Greek universities. She has co-edited two books on photography during the Nazi Occupation of Greece (1941-1944), one on the art of World War I in Greece, and written articles and book chapters on photography, museum policies, as well as the relationship between contemporary Greek art and politics. She has presented her research in international conferences, while in 2019 and 2020 she participated in the CAA-Getty International Program.
Jana Kantoříková, Sorbonne University/CNRS
Presentation at the Annual Conference: “Crucified Women: The Way of the Cross in the Symbolist Movement”
Session: Women in Art in the second part of the 19th century-early part of the 20th
Jana Kantoříková is an associated researcher at the Center of Interdisciplinary Research on Central, Eastern and Balkanic Europe at Sorbonne University/CNRS. She received her PhD in Slavic Philology, History of Czech Literature and Literary Theory at the Charles University in Prague and the University of Regensburg (2018). She taught at the University of Passau (Germany) and the Sorbonne University. Her research focuses on European modernisms and cultural transfers between France, Germany and the Czech lands, for example “Horror Fragmenti in Czech Symbolism” in Angst, Anxiety, Anguish in Fin de Siècle Art and Literature (Cambridge Scholars Publishing, 2020) or “Le Cycle de la volupté et de la mort : ‘livre empoisonné’ et ornementation du péché” in L’art (décoratif) du livre fin-de-siècle: éloge du parergon (Éditions Otrante, 2021). She is currently working on projects related to the reception of Friedrich Nietzsche in Central Europe and the blackness imagery in the Czech lands in the 19th century.
Judith Noorman, University of Amsterdam
Presentation: “The Invisibility Myth. Women, Art and Household Consumption in the Dutch Republic”
Session at the Annual Conference: Archive, Object, Image: Reading Against the Grain in the Dutch and Spanish “Golden Ages”
Judith Noorman is Assistant Professor of Art History in the Early Modern Period and Director of the Amsterdam Centre for Studies in Early Modernity (both at the University of Amsterdam). As of September 2021, she is leading a governmentally funded NWO VIDI project: The Female Impact. Women, Art and Household Consumption in the Dutch Republic, 1580-1720. She earned her PhD at the Institute of Fine Arts, New York University and has conducted postdoctoral research at the Drawing Institute, Morgan Library & Museum. At the 110th CAA Annual Conference, she is presenting a paper on The Invisibility Myth. Women, Art and Household Consumption in the Dutch Republic, as part of the HNA-sponsored session Archive, Object, Image: Reading Against the Grain in the Dutch and Spanish “Golden Ages”, which is chaired by Carrie J. Anderson and Marsely Kehoe.
CAA-GETTY INTERNATIONAL PROGRAM
Every year since 2012, the CAA-Getty International Program has enabled art historians, museum curators, and artists who teach art history to attend CAA’s Annual Conference. This program is funded on an annual basis by the Getty Foundation. Meet the CAA-Getty International Program participants here.
Black History Month and the 110th Annual Conference
posted by CAA — January 31, 2022
Each week this Black History Month, we highlight the rich scholarship and programs produced at CAA that celebrate, recognize, and interrogate Black art, history, and experience. This week, we look forward to the research and scholarship that will be presented virtually at the upcoming Annual Conference. Many sessions feature talks that look at or investigate Blackness, racism, colonialism, neo-colonialism, and slavery, Black identity, theory of race, Afrofuturism, queerness, the African diaspora, and intersections between these topics.
In chronological order:
February 17-19:
Reimagining the Past alongside Black Women Artists, Thursday, February 17, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)
Latinx Bodies: Presence/absence and representation (Part 1) , Thursday, February 17, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)
To See, to Keep, to Know: Photography and Intergenerational Knowledge Production, Thursday, February 17, 2022, 11:00 – 12:30 p.m. CST (12:00 – 1:30 p.m. EST)
Archive, Object, Image: Reading Against the Grain in the Dutch and Spanish “Golden Ages,” , Thursday, February 17, 2022, 11:00 – 12:30 p.m. CST (12:00 – 1:30 p.m. EST)
U.S. Latinx Art, Pre-1950 ,Thursday, February 17, 2022, 11:00 – 12:30 p.m. CST (12:00 – 1:30 p.m. EST)
Latinx Bodies: Presence/Absence and Representation (Part 2) , Thursday, February 17, 2022, 2:30 – 4:00 p.m. CST (3:30 – 5:00 p.m. EST)
Haunting and Memory in Arts of Africa and the African Diaspora , Friday, February 18, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)
The air we breathe: aesthetics and politics of the breath in transpacific and transatlantic visual cultures ,Friday, February 18, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)
Flipping the Script , Friday, February 18, 2022, 2:30 – 4:00 p.m. CST (3:30 – 5:00 p.m. EST)
(re)activation of Exhibitions as sites of contestation, Friday, February 18, 2022, 4:30 – 6:00 p.m. CST (5:30 – 7:00 p.m. EST)
Decolonial Teaching Methodologies in Digital Arts & Design, Saturday, February 19, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)
What’s the “matter” with American Sculpture?, Saturday, February 19, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)
Signs o’ the Times: Music and Politics in Contemporary Art ,Saturday, February 19, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)
The Price of Blackness: African American art and visual culture in the first two decades of the Twenty-First Century, Saturday, February 19, 2022, 11:00 – 12:30 p.m. CST (11:00 – 12:30 p.m. EST)
Knowing People: Black Practices in Queer Collaborations, Saturday, February 19, 2022, 2:30 – 4:00 p.m. CST (3:30 – 5:00 p.m. EST)
‘Heresies’ and Other Mythologies, Saturday, February 19, 2022, 2:30 – 4:00 p.m. CST (3:30 – 5:00 p.m. EST)
Signs o’ the Times: Music and Politics in Contemporary Art, Part II ,Saturday, February 19, 2022, 2:30 – 4:00 p.m. CST (3:30 – 5:00 p.m. EST)
Toward an Inclusive Methodology: Experiments in Art Writing,Saturday, February 19, 2022, 4:30 – 6:00 p.m. CST (5:30 – 7:00 p.m. EST)
March 3-5
Women in Architecture: The African Exchange,Thursday, March 3, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)
The Promise of Modern Art and Design: Cold War-Era Art and Diplomacy,Thursday, March 3, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)
DESIGN INCUBATION COLLOQUIUM 8.2: RECENT RESEARCH IN COMMUNICATION DESIGN , Thursday, March 3, 2022,9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)
Blackness and the Ashcan School, Thursday, March 3, 2022, 2:30 – 4:00 p.m. CST (3:30 – 5:00 p.m. EST)
Carnival in Africa, Friday, March 4, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)
Curatorial Care: Feminist and Queer Practices ,Friday, March 4, 2022,9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST
Reading Kerry James Marshall’s ‘Rythm Mastr’, Friday, March 4, 2022, 11:00 – 12:30 p.m. CST (12:00 – 1:30 p.m. EST)
Transnational, Transcultural, Transversal: On the Decolonial Discourse of Art,Friday, March 4, 2022, 11:00 – 12:30 p.m. CST (12:00 – 1:30 p.m. EST)
Black Collage, Friday, March 4, 2022, 2:30 – 4:00 p.m. CST (3:30 – 5:00 p.m. EST)
Abolitionist Aesthetics, Friday, March 4, 2022, 4:30 – 6:00 p.m. CST (5:30 – 7:00 p.m. EST)
Art History and Social Justice in Practice ,Friday, March 4, 2022,4:30 – 6:00 p.m. CST (5:30 – 7:00 p.m. EST)
Activist Exhibitions, Friday, March 4, 2022, 4:30 – 6:00 p.m. CST (5:30 – 7:00 p.m. EST)
On Afro-pessimism and Its Alternatives ,Saturday, March 5, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)
Reconsidering Art History Through Access ,Saturday, March 5, 2022, 9:00 – 10:30 a.m. CST (10:00 – 11:30 a.m. EST)
New Perspectives in Art, Design, and Art History: Supporting and Showcasing Emerging Voices from Marginalized Communities ,Saturday, March 5, 2022, 2:30 – 4:00 p.m. CST (3:30 – 5:00 p.m. EST)
New Ways of Seeing ,Saturday, March 5, 2022, 2:30 – 4:00 p.m. CST (3:30 – 5:00 p.m. EST)
Botanical Intimacies: Colonialism, Decolonial Practice, and Queered Ecologies , Saturday, March 5, 2022,4:30 – 6:00 p.m. CST (5:30 – 7:00 p.m. EST)
CAA 2022 Awards for Distinction
posted by CAA — January 24, 2022
CAA announces the 2022 recipients of Awards for Distinction. By honoring outstanding member achievements, CAA reaffirms its mission to encourage the highest standards of scholarship, practice, connoisseurship, and teaching in the arts. With these annual awards, CAA seeks to honor individual artists, art historians, authors, museum professionals, and critics whose accomplishments transcend their individual disciplines and contribute to the profession as a whole and to the world at large.
Among the awards, the Distinguished Artist Award for Lifetime Achievement is presented to Betye Saar who has not only forged a singular practice for six decades but has also influenced generations of artists, makers, and thinkers. Calling upon the legacies of artists like Joseph Cornell, her symbolic and potent assemblages, of which she’s best known, reflect on the lives, experiences, and identities of African Americans, spirituality, and cultural connectivity.
The Distinguished Lifetime Achievement Award for Writing on Art is presented to Wu Hung. Perpetually interested in the shape of time, in relation to the time of the world, he has authored many books, essays, and exhibition catalogues that bring Chinese visual culture into different orders of focus, taking into account the changing conditions of tombs, screens, performances, and protests. The scope of his work has an epic quality, allowing arguments to unfold across centuries without losing sight of the very human presence of artists and audiences.
Art Journal Award
Alfred H. Barr Jr. Award
Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions
Frank Jewett Mather Award
Charles Rufus Morey Book Award
Elina Gertsman, The Absent Image: Lacunae in Medieval Books, Penn State University Press, 2021.
Arthur Kingsley Porter Prize
Artist Award for a Distinguished Body of Work
Kent Monkman
CAA/AIC Award for Distinction in Scholarship and Conservation
Zahira Véliz
Distinguished Artist Award for Lifetime Achievement
Betye Saar
Distinguished Lifetime Achievement Award for Writing on Art
Wu Hung
Distinguished Feminist Award – Artist
In lieu of the Distinguished Feminist awards, we will recognize leaders in the field of feminist art and art history in our 2022 programming highlighting the 50th Year Anniversary of feminism at CAA.
Distinguished Feminist Award – Scholar
In lieu of the Distinguished Feminist awards, we will recognize leaders in the field of feminist art and art history in our 2022 programming highlighting the 50th Year Anniversary of feminism at CAA.
Distinguished Teaching of Art Award
Fred Hagstrom
Distinguished Teaching of Art History Award
Terry Smith
Excellence in Diversity Award
Citations:
Art Journal Award
In organizing a course of study predicated on the ontological challenge to discourses of art offered by trans and nonbinary positions, David J. Getsy and Che Gossett have generously identified a major lacuna in the field and provided a toolkit for its amelioration. The jury unanimously selected their “A Syllabus on Transgender and Nonbinary Methods for Art and Art History” as the most distinguished contribution to the Art Journal in 2021. The syllabus not only identifies, positions, and summarizes critical scholarship in the field of transgender and nonbinary studies, it also demonstrates the fruitful integration of pedagogy and emerging research methodologies. Noting the relative dearth of art historical scholarship that has taken up trans methods and histories, the authors suggest the ways in which key themes and terms from art might be critically reevaluated in light of transgender studies. An introduction to each section’s bibliography synthesizes complex debates and individual arguments with remarkable clarity. Sensitive to the necessary intersections of trans analytics with critical approaches to race, ability, and class, the authors highlight readings from Black feminist thought and abolition optics, among other transversal concerns, that elucidate points of fracture within and strategies of resistance to the regulatory gender binary. At once rigorous and accessible, Getsy and Gossett’s contribution offers an adaptable blueprint for researchers and educators.
Committee:
Omar Kholeif, Sharjah Art Foundation
Tilo Riefenstein, School of the Arts, York St John University
Phil Taylor, George Eastman Museum (Chair)
Alfred H. Barr Jr. Award
America is haunted. Genocidal policies unleashed on Native Americans; the horror of the transatlantic slave trade; war, racism, and social injustice; dark passages in community and individual histories – these traumas and more have left behind a trail of spirits. Taking as its topic the paranormal in American art, Supernatural America reveals the myriad ways in which citizens and artists have sought to see, understand, or come to terms with the ghosts of the past. Lavishly illustrated, with many images never seen before, Supernatural America breaks new ground in presenting the paranormal as a historical subject of wide-ranging importance. Incisive essays by scholars and artists cover painting and sculpture from the late 18th century to the present, spirit photography, art channeled through mediums, spiritualist paraphernalia, folk and outsider art, UFO-inspired materials, video and installation from a range of perspectives. This revealing, thought-provoking investigation into an emerging scholarly field gives proof to William Faulkner’s well-known line: ‘The past is never dead. It’s not even past’.
Committee:
Susan Aberth, Bard College
Benjamin Anderson, Cornell
Karen Lang, University of Arizona
Andrew Saluti, Syracuse University (Chair)
Joyce Tsai, Clyfford Still Museum
Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions
In 2015 the Ryerson Image Centre acquired the archives of Berenice Abbott, including more than 6000 photographs and 7000 negatives, her papers, correspondences, and manuscripts. One of the key figures in the history of documentary photography, Abbott is now known as an archivist as well as an artist. It was Abbott who preserved Eugene Atget’s archives at the end of the twenties and published his work. Her own photographs, taken while working for the WPA, consolidated her reputation as a documentary photographer. What exactly is that reputation? In order to answer that question, Documentary in Dispute meticulously reconstructs the manuscript of the book Changing New York, first published in 1939 by Dutton & Co, with photographs by Berenice Abbott and text by renowned art critic Elizabeth McCausland. In a tour de force of archival research and scholarly presentation, Sarah M. Miller reveals how the project was altered to obscure the aesthetic, political and ethical values of photographer and author. Miller’s beautifully written, highly focused essay on Abbott and McCausland situates them in an international avant-garde which recognized the potential of image and text to transform, even to break, our habits of seeing and being. Miller’s overall approach recalls Walter Benjamin’s own in the 1930s. Not coincidentally, Benjamin was inspired by Abbott’s archival and photographic achievements.
Committee:
Susan Aberth, Bard College
Benjamin Anderson, Cornell
Karen Lang, University of Arizona
Andrew Saluti, Syracuse University (Chair)
Joyce Tsai, Clyfford Still Museum
Frank Jewett Mather Award
The jury has unanimously selected Kaira M. Cabañas’ Immanent Vitalities: Meaning and Materiality in Modern and Contemporary Art. Cabañas has written a highly readable volume addressing the material relations between objects and subjects as well as addressing the limiting institutional conventions of academic art history. Her work draws upon theories of new materialism, an animating force that, when attended to, requires rethinking binary categories such as living and inert or life and matter. Cabañas’ volume traverses histories and hemispheres: from the perceptual doubts engendered by the force of color in Alejandro Otero’s paintings to the enmeshed material contingencies of Gego’s metal sculptures, from the sensorial therapeutic propositions of Lygia Clark’s relational objects to the curatorial entanglements of Alessandro Balteo-Yazbeck’s challenges to the grid, and from the affective agencies Mario Pedrosa located in the paintings of Djanira da Motta e Silva to the documented rituals of care obfuscating boundaries between the organic and the inorganic in Matheus Rocha Pitta’s Polaroids. Cabañas proposes an alternative to the kind of nation-bounded analyses that often burden studies of modern and contemporary art of Latin America. She addresses academic art history’s tendency to isolate along geographic lines, marginalizing practices and scholarship. Cabañas’ text thus models a critical strategy for assessing not just artworks but the field itself.
Committee:
Julia Bryan-Wilson, University of California, Berkeley
Kim Theriault, Dominican University
Andrew Wasserman, Dominican University (Chair)
Charles Rufus Morey Book Award
Elina Gertsman, The Absent Image: Lacunae in Medieval Books, Penn State University Press, 2021.
Countering the customary interpretation of late medieval art as relentlessly profuse and exuberant, Elina Gertsman’s The Absent Image: Lacunae in Medieval Books, explores different constructions of emptiness ranging from the presentation of voids in illustrations to represent the unrepresentable to the deliberate inclusion of physical holes in manuscript pages designed to reveal portions of other pages. Gertsman’s investigation of the “fecundity of emptiness” is a generative and compelling topic for scholars of art history/visual studies across areas, both within and outside Medieval Studies. She argues and demonstrates that, between 1200s and 1500s, the broad circulation of scientific thought and its engagement with theology and formal and literary discourses on emptiness, absence, and negation account for visual, cognitive, and material expressions on the pages of medieval books. Cross-disciplinary in its approach, Gertsman’s book simultaneously draws attention to the visual and material aspects of the manuscripts, phenomenological experience, and philosophical, religious, and scientific theories of the period. In doing so she uncovers an unexpected kinship between the medieval artists and the modernist avant-garde, where the void is regarded as the locus of the sublime and of boundless possibility. Her erudite writing and compelling approach to the subject poses questions throughout that magnify the relevance of her study and stimulate personal inquiry—as a reader reflects on other areas of consideration across time called out in the text. The book is lavishly illustrated and artfully designed with a shape and size complementary to the subject of study.
Committee:
John Cunnally, Iowa State University
Christina Hellmich, Fine Arts Museums of San Francisco
Laura Anne Kalba, University of Minnesota
Lisa D. Schrenk, University of Arizona
Dorothy Wong, University of Virginia (Chair)
Arthur Kingsley Porter Prize
Marius Hauknes offers a riveting and multi-layered interpretation of the role of spectatorship in the production of meaning in the 13th-century crypt of the Anagni Cathedral. Rather than consider a viewer as a passive onlooker, he devotes attention to multiple aspects of embodied spectatorship: movement, (shifting) angles/perspectives, (in)visibility, temporality, and knowledge. These offer a powerful vantage point from which to consider the intersection of the painting program with the body itself. Drawing attention to contemporary concerns and interests in the body’s health, its cognitive capacities (and limits), and its place in the universe, Hauknes places the paintings into conversation with medicine and astrology. The images emerge as intellectual acts in a religious and political setting that grappled with problems of temporality and being. Hauknes evinces deep and extensive scholarly research, and is able to draw precise and appropriate insights from contemporary cultural and historical contexts, without losing focus on the artwork itself. While offering compelling readings of specific scenes — showing how they could connect, overlap, or echo with one another — Hauknes posits that comprehensive spectatorship was not possible. Instead, human comprehension and temporality contrasts with the divine, creating a space for reflection on the need for medicine and astrology.
Committee:
Nathan T. Arrington, Princeton University (Chair)
Susanna Berger, University of Southern California
Rachel Miller, California State University, Sacramento
Artist Award for a Distinguished Body of Work
Kent Monkman
There is a long-standing history in the visual arts of artists bearing witness to atrocities: Goya’s painting “The Third of May,” Picasso’s “Guernica,” to name but two. Toronto-based Cree artist Kent Monkman’s exhibition “Shame and Prejudice: A Story of Resilience” follows this tradition, with a few notable updates. On the occasion of Canada’s 150th anniversary in 2017, Monkman’s paintings featured in a cross-country touring exhibit that culminated at the University of British Columbia’s Museum of Anthropology, August 6, 2020 – January 3, 2021, provides a searing critique of Canada’s colonial policies past and present, including, in the artist’s accounting: “the signing of the numbered treaties, the reserve system, genocidal policies of the residential schools, mass incarceration and urban squalor.” This is a body of work that, though tackling a grim subject matter, is often a blend of subversive humor, fantasy, and homoeroticism. And, although appropriating the form of Western history painting, Monkman’s artwork breaks from tradition by subverting and de-centering the Western gaze and re-presenting a perspective of history from the vantage point of the Indigenous peoples. Albeit, a history filtered through the particular lens of an artist who identifies as both queer and two-spirit, and through his trickster alter-ego, Miss Chief Share Eagle Testickle, the protagonist within much of Monkman’s paintings and performances. Through his use of history painting, Monkman’s project is one that reminds us of the potency of images, and the potential of the artist to provoke and challenge history and its representations.
Committee:
Stephen Fakiyesi, Independent Artist, Toronto
Jessica Hong, Hood Museum, Toledo Art Museum
Beauvais Lyons, University of Tennessee, Knoxville, (Chair)
CAA/AIC Award for Distinction in Scholarship and Conservation
Zahira Véliz
Zahria (Soni) Véliz has enhanced our understanding of art through her numerous, scholarly publications to the fields of art history and paintings conservation. Dr. Véliz has strengthened the methodological approaches of scholars who work on Spanish artists and Franz Kline through her publication record as well as her generosity as a colleague.
Through the translation and dissemination of Spanish texts, Dr. Véliz’s has made contemporaneous information about early modern painting accessible to researchers who do not read Spanish. Artists Techniques in Golden Age Spain (1987) is often cited in technical studies of Spanish paintings. More recently, Dr. Véliz edited a translation of Jusepe Martínez’s 1673-75 Practical Discourses on the Most Noble Art of Painting (2017). These publications, along with others by Dr. Véliz on subjects including blue pigments, wooden panels, and drawing practice, have been foundational to the study of Spanish art in the United States.
Dr. Véliz’s PhD dissertation on Alonso Cano served as a foundation for many publications on the artist. In addition, Dr. Véliz’s knowledge and skills of connoisseurship regarding Spanish drawing enriched her drawings catalogues for the Courtauld Institute of Art in London and the Museo de Bellas Artes in Asturias. As Senior Paintings Conservator for the Museum of Fine Arts, Houston, Dr. Véliz published her research into a newly attributed painting to Diego Velázquez as well as technical and art historical research on Franz Kline’s paintings that are models of collaborative research.
Committee Members:
Jim Coddington, American Institute of Conservation
Tiarna Doherty, University of Delaware, (Chair)
Fernanda Valverde, Amon Carter Museum
Distinguished Artist Award for Lifetime Achievement
Betye Saar
Betye Saar (b. 1926, Los Angeles, CA) has not only forged a singular practice for six decades but has also influenced generations of artists, makers, and thinkers. Calling upon the legacies of artists like Joseph Cornell, her symbolic and potent assemblages, of which she’s best known, reflect on the lives, experiences, and identities of African Americans, spirituality, and cultural connectivity. Part of the broader Black Arts Movement in the 1970s, Saar also confronted issues of racism and sexism in groundbreaking and radical works like The Liberation of Aunt Jemima (1972). Saar contends the continual thread in her work is her “curiosity about the mystical.” As she wrote in 1998, “I am intrigued with combining the remnant of memories, fragments of relics and ordinary objects, with the components of technology. It’s a way of delving into the past and reaching into the future simultaneously. The art itself becomes the bridge. Curiosity about the unknown has no boundaries. Symbols, images, place and cultures merge. Time slips away. The stars, the cards, the mystic vigil may hold the answers. By shifting the point of view an inner spirit is released. Free to create.” By foregrounding the mystical, Saar sees people, cultures, contexts, temporalities as part of a larger, interconnected spiritual fabric, an understanding that is needed in a time of extreme ideological polarization, inequities, and geopolitical strife. Saar and her practice continue to resonate and inspire current generations and those to come.
Committee:
Stephen Fakiyesi, Independent Artist, Toronto
Jessica Hong, Hood Museum, Toledo Art Museum
Beauvais Lyons, University of Tennessee, Knoxville, (Chair)
Distinguished Lifetime Achievement Award for Writing on Art
Wu Hung
Trained in both China and the United States, Wu Hung’s writing brings perspectives native to both cultures to bear on aesthetics, art history, and archaeology. His arguments ground the cultures of China, from the earliest ancient survivals to the interventions of our own time in structures of mind that defy the progress narratives of the West. He has received countless awards for work that has transformed the study of East Asian art and drawn attention to the relationship between images and the spaces within which they are observed, from the Dunhuang caves to the double screens to Zhu Jinshi’s Fangzhen: A Cubic Meter of Canvas in Berlin.
Overall, his writings explore the many, restless transitions across time and space. Perpetually interested in the shape of time, in relation to the time of the world, he has authored many books, essays, and exhibition catalogues that bring Chinese visual culture into different orders of focus, taking into account the changing conditions of tombs, screens, performances, and protests. The scope of his work has an epic quality, allowing arguments to unfold across centuries without losing sight of the very human presence of artists and audiences. He works in the discipline of art history as a poet-scholar who knows the brushstroke from the inside out, crafting prose of great clarity and nuance that opens the field to specialists and new readers alike.
Distinguished Feminist Award – Artist
In lieu of the Distinguished Feminist awards, we will recognize leaders in the field of feminist art and art history in our 2022 programming highlighting the 50th Year Anniversary of feminism at CAA.
Committee:
Robin Cass, Rochester Institute of Technology (Chair)
Delinda J. Collier, School of the Art Institute of Chicago
Midori Yoshimoto, New Jersey City University
Distinguished Feminist Award – Scholar
In lieu of the Distinguished Feminist awards, we will recognize leaders in the field of feminist art and art history in our 2022 programming highlighting the 50th Year Anniversary of feminism at CAA.
Committee:
Robin Cass, Rochester Institute of Technology (Chair)
Delinda J. Collier, School of the Art Institute of Chicago
Midori Yoshimoto, New Jersey City University
Distinguished Teaching of Art Award
Fred Hagstrom
Fred Hagstrom, a member of the Carleton College faculty since 1984, is the 2022 recipient of the CAA Distinguished Teaching of Art Award. Hagstrom’s nomination included endorsements from former students and colleagues, including a listing of 341 former students who have taken his printmaking, book arts, and drawing classes. Hagstrom also directed a bi-annual study abroad 10-week trip for students to Australia, New Zealand, and the Cook Islands twelve times over twenty years, where students learned about South Pacific and Maori art and culture. Based on this experience, Dylan Yvonne Welch (BA, ‘08) recalls “Each trip, he candidly and humbly facilitates conversations about colonial history, racism and art. As a student, this was a breath of fresh air as I had found that many other professors seemed uncomfortable or simply avoided discussing those topics.” Eleanor Jensen (BA, ’01) credit him with teaching her to both see and draw, while also observing that “Fred is deeply sensitive to his students and is always ready to stand up for somebody who has been harmed or overlooked.” Students observed that Hagstrom’s classes were interdisciplinary, challenging them to connect their studies in other disciplines as well as their life stories to their studio work. Jade Hoyer credits Professor Hagstrom with being a mentor long after she graduated in 2007. Fred Hagstrom has profoundly impacted his students, many of whom have pursued careers as artists and educators. We are pleased to recognize Fred Hagstrom’s more than three decades of teaching with this award.
Committee:
Stephen Fakiyesi, Independent Artist, Toronto
Jessica Hong, Hood Museum, Toledo Art Museum
Beauvais Lyons, University of Tennessee, Knoxville, (Chair)
Distinguished Teaching of Art History Award
Terry Smith
Terry Smith has long written, curated and taught across borders, in the beginning coming from Australia to study and work in New York as both a scholar and an active member of Art & Language. He has been expanding his sights ever since. He has long advocated for the study of indigenous art. For the past twenty years, starting with projects such as Global Conceptualism: Points of Origin, 1950s -1980s at the Queens Museum, he was the trusted collaborator of Okwui Enwezor. He has always insisted that the past and the present be given their due consideration and global perspectives.
All of this came to his teaching. Students have understood the breadth of his expertise and curiosity; they have used them as inspiration for their own paths; they have appreciated his warmth, his encouragement and the gift of his time. The example he has set as an art historian and a curator has had visible effects in the ranks of university professors and museum curators in the United States and abroad. They do not conform to a single, theoretical way. His students repeatedly speak of his belief in the independent existence of the art object and at the same time his insistence that it be grounded and imbricated in its own real time social relations. Art is allowed its scale, its interior place in our minds, and its exterior place in our world.
Committee:
Shirin Fozi, University of Pittsburgh (Chair)
Joseph Masheck, Hofstra University
Molly Nesbit, Vassar College
Excellence in Diversity Award
Committee:
Carmelita Higgenbotham, Virginia Commonwealth University
Kelly Murdoch-Kitt, University of Michigan
Sohl Lee, Stony Brook University
Announcement: CAA’s 110th Annual Conference Pivots to Virtual
posted by CAA — January 07, 2022
Meme Omogbai, CAA’s Executive Director and CEO, and Laura Anderson Barbata, Vice President for Annual Conference and Programs discuss the pivot to a virtual conference.
Dear CAA members,
First and foremost, we want to wish you a happy New Year and hope that you found a way to celebrate with loved ones during this challenging period of the pandemic. It’s essential that we continue to honor traditions, express gratitude, and maintain connections that are important to us.
As we continue to prepare for our Annual Conference beginning in February, the health and safety of our members is our primary concern. We prioritize member feedback and continue to be responsive to your needs and preferences in a way that is scalable. This past year, many of you expressed the desire for an in-person gathering in 2022, complemented by virtual components increasing accessibility. We have worked diligently to provide an experience that meets your expectations.
Focusing on meeting our commitment to members, based upon quantitative and qualitative analysis, surveys, and other feedback consistent with the fundamentals of our strategic repositioning, we have been closely monitoring the COVID pandemic and the rapidly developing Omicron strain as well as CDC guidelines. Given this information and the recent feedback we’ve received from you regarding concerns about convening in person, the travel advisory issued by the Chicago Department of Public Health (CDPH) this week, and the uncertainty of the weeks and months ahead, we have decided to make the CAA 2022 Annual Conference entirely virtual. All in-person sessions and activities scheduled for February 16–19 in Chicago will now become virtual on the same dates. Virtual sessions and activities scheduled for March 3–5 will remain the same. All recordings will also remain available through April 14 as previously planned and communicated.
Our history, as described in CAA’s centennial publication, The Eye, the Hand, the Mind, has shown that we can change and adapt. The pandemic has once again shown us how nimble we can be as we pivot for the future. CAA staff will work in the coming days to seamlessly shift programming to an all-virtual format.
If you have already registered for the conference at any paid level—all-access, presenter, or virtual-only—your registration will automatically be converted to all-access for all sessions at the current virtual rate. Current all-access registrants may also choose to be credited or refunded for the difference between the prior all-access and current virtual rates. Alternatively, we would greatly appreciate your considering donating this amount to CAA to help offset the costs related to this change. Those currently registered for all-access will receive an email in the coming days with a form to select their credit, donation, or refund preference.
We continue to be committed to fulfilling your expectations and to providing a conference that suits your means of engagement, provides a wealth of scholarly content, and allows multiple ways to connect with others. In contrast with last year’s conference, all presentations during the 2022 conference will be presented live via Zoom, rather than prerecorded. This will allow for more questions and spontaneous discussions.
During the all-virtual conference, we will have three opportunities to share with you our vision for CAA as we continue to reposition the organization for the twenty-first century. The Town Halls will give us an opportunity to hear from you so we can continue to meet your needs and accommodate your preferences.
- Convocation, on Wednesday, February 16, officially begins the 2022 conference. It will be a chance to hear from CAA leadership about where we are in the repositioning process and our vision for the future. We will also recognize the Distinguished Award recipients and hear from keynote speaker, Juan Salgado, Chancellor, City Colleges of Chicago, on improving education and economic opportunities for individuals in underserved communities.
- The Town Hall, on Friday, February 18, will provide an opportunity to hear the financial report of the association, the results of board elections, and other important business matters, including plans for the publications redesign and our restructured membership.
- The Town Hall on Saturday, March 5, will be another time to share information and address any outstanding items.
Please watch the short video discussion between Meme and Laura Anderson Barbata, Vice President for Annual Conference and Programs, which provides more information on the pivot to an all-virtual format.
Our website, registration portal, and FAQs will reflect the shift to an all-virtual format, and we will continue to update you through our newsletter and social media accounts. Thank you for your patience and flexibility during this time. You may contact us with any questions or concerns at info@collegeart.org.
We look forward to when we can once again meet safely face-to-face. Until then, we will continue to make positive use of virtual platforms and integrate them in ways that will benefit CAA members in the years to come, allowing us to broaden our reach across geographic and technological borders, and to emerge as a stronger organization.
Sincerely yours,
![]() Meme Omogbai |
N. Elizabeth Schlatter |
Chicago Museum and Gallery Exhibitions, February 2022
posted by CAA — December 21, 2021
Although CAA’s 110th Annual Conference has changed entirely to virtual, we still wanted to share a list of museum and gallery exhibitions that will be open this winter in Chicago.
Art Institute of Chicago
111 South Michigan Avenue, Chicago, IL 60603
Free admission for CAA Annual Conference attendees with badge
Hours of operation: Daily (except Thursday), 10:30 a.m.–5:00 p.m.
Thursday 10:00 a.m.–8:00 p.m.
On view: Senju’s Waterfall for Chicago, Subscribe: Artists and Alternative Magazines, 1970-1995
Aspect/Ratio
864 N. Ashland, Chicago IL 60622
Free and open to the public
Hours of operation: Wednesday, Thursday, Friday, and Saturday 11:00 a.m.–6:00 p.m.
Chicago Architecture Center
111 East Wacker Drive, Chicago, IL 60601
Discounted admission for CAA Annual Conference attendees with badge
Hours of operation: Daily, 9:00 a.m.–5:00 p.m. Exhibits open at 9:30 a.m.
On view: Housing for a Changing Nation; Chicago Gallery; Chicago City Model; From Me to We: Imagining the City of 2050
Chicago Cultural Center
78 E Washington St, Chicago, IL 60602-4801
Free and open to the public
Hours of operation: Monday–Friday, 10:00 a.m.–7:00 p.m.
Saturday and Sunday, 10:00 a.m.– 5:00 p.m.
On view: Art and Race Matters: The Career of Robert Colescott
Columbia College Chicago, Student Center
754 S Wabash Ave., Chicago, IL 60605
Free and open to the public
Hours of operation: Monday – Friday, 7:00 a.m. – 11:00 p.m., Saturday, 8:00 a.m. – 10:00 p.m.
On view: Soft Allergy (Closes February 18)
Columbia College Chicago, Glass Curtain Gallery
1104 S Wabash Ave, 1st Floor, Chicago, IL 60605
Free and open to the public
Hours of operation: Monday—Wednesday and Friday, 9:00 a.m.—5:00 p.m., Thursday, 9:00 a.m.—7:00 p.m.
On view: Soft Allergy (Closes February 18)
DePaul Art Museum
935 West Fullerton Avenue, Chicago, IL 60614
Free and open to the public
Hours of operation: Wednesday and Thursday, 11:00 a.m.–7:00 p.m.
Friday, Saturday, and Sunday, 11:00 a.m.–5:00 p.m.
Closed Monday and Tuesday
On view: A Natural Turn: María Berrío, Joiri Minaya, Rosana Paulino, and Kelly Sinnapah Mary, (Closes February 19), Solo(s): Krista Franklin, Closes February 19)
Field Museum
1400 South Lakeshore Drive, Chicago IL, 60605
Discounted admission for CAA Annual Conference attendees with badge
Hours of operation: Daily, 9:00 a.m.–5:00 p.m. (last admission at 4:00 p.m.)
On view: Permanent Exhibition Highlights: Evolving Planet and SUE the T. rex; Maximo the Titanosaur; Inside Ancient Egypt; Ancient Americas; Lions of Tsavo; Hall of Gems. Ticketed Exhibitions: Pokagon Potawatomi Black Ash Baskets: Our Storytellers
Hyde Park Art Center
5020 S. Cornell Avenue, Chicago, IL 60615
Free and open to the public
Hours of operation: Monday – Thursday, 9:00 a.m.—8:00 p.m.
Friday and Saturday, 9:00 a.m.—5:00 p.m.
Sunday, 12:00 – 5:00 p.m.
Easily accessible by Number 6 bus from the South Loop
On view: Dream
Intuit: The Center for Intuitive and Outsider Art
756 North Milwaukee Avenue, Chicago, IL 60642
Free admission for CAA Annual Conference attendees with badge
Hours of operation: Tuesday, Wednesday, Friday, and Saturday, 11 a.m.–6 p.m.
Thursday, 11 a.m.–7 p.m.
Sunday, 12 p.m.–5 p.m.
Closed Monday
On view: The Life and Death of Charles Williams
Museum of Contemporary Photography
600 South Michigan Avenue, Chicago, IL 60605
Free and open to the public
Hours of operation: Daily (except Thursday and Sunday), 10:00 a.m.–5:00 p.m.
Thursday, 10:00 a.m.–8:00 p.m.
Sunday, 12:00 p.m.–5:00 p.m.
On view: American Epidemic: Guns in the United States
National Museum of Mexican Art
1852 West 19th Street, Chicago, IL 60608
Free admission for CAA Annual Conference attendees with badge
Hours of operation: Tuesday– Sunday, 10:00 a.m.–5:00 p.m.
Closed Monday
On view: Nuestras Historias: Stories of Mexican Identity from the Permanent Collection
Richard H. Driehaus Museum
40 East Erie Street, Chicago, IL 60611
Free admission for CAA Annual Conference attendees with badge
Hours of operation: Open daily 10:00 a.m.–5:00 p.m.
On view: William H. Bradley and The Chap-Book from the Collection of Richard H. Driehaus
Riverside Arts Center
32 E Quincy St, Riverside IL 60546
Free and open to the public
Hours of operation: Tuesday through Saturday, 1:00—5:00 p.m.
Easily accessible by Metro BNSF train or car
On view: Muse, an exhibition of photography and costumes by Niki Grangruth and James Kinser
Smart Museum of Art, University of Chicago
72 E. Randolph St., Chicago, IL 60601
Free and open to the public
Hours of operation: Daily (except Monday and Thursday), 10:00 a.m.–5:00 p.m.
Thursday, 10:00 a.m.–8:00 p.m.
Closed Monday
On view: All Together Now: Sound × Design
Sullivan Galleries
33 South State Street, Chicago, IL 60603, 7th Floor
Free and open to the public
Hours of operation: Tuesday–Saturday, 11:00 a.m.–6:00 p.m.
Closed Sunday and Monday
VGA Gallery
2418 West Bloomingdale Avenue, Unit 101, Chicago, IL 60647
Free and open to the public
Hours of operation: Thursday, 5:00 p.m.–8:00 p.m.
Saturday, 12:00 p.m.–5:00 p.m.
Pedagogy and Professional Development at the 110th Annual Conference
posted by CAA — December 14, 2021
The upcoming Annual Conference this winter and spring will feature a number of sessions that discuss issues related to pedagogy, education, and professional development. See below for links to explore these topics in the conference schedule, as well as a selection of sessions.
Note: As of January 7, all in-person sessions and activities scheduled for February 16-19 in Chicago are now virtual on the same dates. Virtual sessions and activities scheduled for March 3-5 will remain the same. This change will allow for more access and engagement, regardless of location.
Teaching Longform Scholarship in a Shortform World
Saturday, February 19, 2022, 11:00 PM – 12:30 PM CST
Post-Pandemic Reflections: Making Change in the Studio and Art History Classroom
Thursday, February 17, 2022, 11:00 PM – 12:30 PM CST
Creative Practice as Pedagogical Practice III
Friday, February 18, 2022, 9:00 AM – 10:30 AM CST
Pedagogy Sessions, March 3-5
Centering Latina/x & Chicana/x Art Pedagogies
Friday, March 4, 2022, 4:30 PM – 6:00 PM CST (5:30 – 7:00 PM EST)
Revisioning Pedagogical Practices through Ecoart: Provocations
Friday, March 4, 2022, 4:30 PM – 6:00 PM CST (5:30 – 7:00 PM EST)
F.A.T.E. Affiliate Session: Strategies for Inclusive Studio Art Pedagogy
Saturday, March 5, 2022, 12:00 PM – 1:30 PM CST (1:00 PM – 2:30 PM EST)
Post-Pandemic Reflections: Making Change in the Studio and Art History Classroom
Thursday, February 17, 2022, 11:00 PM – 12:30 PM CST
How to Get Published
Friday, February 18, 2022, 4:30 PM – 6:00 PM CST
Appraising Your Research as Data: Managing, Visualizing, and Preserving Your Scholarship
Saturday, February 19, 2022, 11:00 PM – 12:30 PM CST
Professional Practice: Hard and Soft Skills
Saturday, February 19, 2022, 2:30 PM – 4:00 PM CST
New Age of Teaching the Art of the Islamic World
Saturday, March 5, 2022, 9:00 AM – 10:30 AM CST (10:00 AM – 11:30 AM EST)
Reconsidering Art History Through Access
Saturday, March 5, 2022, 9:00 AM – 10:30 AM CST (10:00 AM – 11:30 AM EST)
New Perspectives in Art, Design, and Art History: Supporting and Showcasing Emerging Voices from Marginalized Communities
Saturday, March 5, 2022, 2:30 PM – 4:00 PM CST (3:30 PM – 5:00 PM EST)
ACLS recently share a list of professional development resources for K-21 education opportunities:
New York State Association of Independent Schools Virtual Job Fair to Promote Diversity
Association of Independent Schools of New England Careers
California Association of Independent Schools Careers
Independent Schools Association of the Central States Careers
National Association of Independent School Careers
New Jersey Association of Independent Schools Careers
New York State Association of Independent Schools Careers
SchoolSpring (Public School Teaching Careers)
CAA’s 110th Annual Conference Museum-Related Sessions
posted by CAA — December 14, 2021
See below for information on CAA’s virtual Resources for Academic Art Museum Professionals (RAAMP) session and a list of other sessions with museum topics, organized by the two conference components, the first from February 17-19 and the second March 3-5.
Note: As of January 7, all in-person sessions and activities scheduled for February 16-19 in Chicago are now virtual on the same dates. Virtual sessions and activities scheduled for March 3-5 will remain the same. This change will allow for more access and engagement, regardless of location.
CAA’s RAAMP Session and Talks
New and Improved: Using Recent Experiences to Inform the Future of Museums
Thursday, March 3, 2022, 11:00 AM – 12:30 PM CST (12:00 PM – 1:30 PM EST)
Walking the Talk: New Low Carbon Curatorial and Educational Structures that Amplify Impact and Reduce Costs
Natalie Marsh, ViVA Virtual Visiting Artists
Amanda Potter, Zimmerli Art Museum at Rutgers University
Jennifer Reynolds-Kaye, ViVA Virtual Visiting Artists
Lessons Learned from a Year of Virtual Teaching
Ellen M. Alvord and Kendra Weisbin
Speculative Annotation at the Library of Congress: A Web-Based Annotation Tool that Invites Virtual Engagement with the Library’s Collection
Courtney Lynn McClellan and Jaime Mears, Library of Congress
Museum Sessions, February 17-19
Canonizing the Intangible: Aromatic Strategies in the Making of the U.A.E.’s National Identity
Friday, February 18, 2022, 9:00 AM – 10:30 AM CST
Francesca Bacci, Zayed University
Economies of Discipline and Display: Curating Conflict in Israel/Palestine
Friday, February 18, 2022, 9:00 AM – 10:30 AM CST
Michelle Facos, Indiana University
Instrumentalizing Memory and the Politics of Commemoration
Friday, February 18, 2022, 9:00 AM – 10:30 AM CST
Iro Katsaridou, Museum of Byzantine Culture, Thessaloniki, Greece
Eve Kalyva, University of Kent
Reassessing the Art Biennial
Friday, February 18, 2022, 11:00 AM – 12:30 PM CST
Paloma Checa-Gismero, Swarthmore College
Recent Perspectives in the Philosophy of Curatorial Practice
Friday, February 18, 2022, 11:00 AM – 12:30 PM CST
Rossen Ventzislavov
The Mary H. Dana Women Artists Series at Rutgers University’s Douglass College: A 50 Year History of Exhibition and Space Making for Woman-Identifying Artists through the Voices of the Artists Themselves
Friday, February 18, 2022. 2:30 PM – 4:00 PM CST
Julia E. Marsh, Cedar Crest College
The Practice of Care: Trauma Informed Pedagogy
Education Committee
Saturday, February 19, 2022, 11:00 AM – 12:30 PM CST
Jenna Ann Altomonte, Mississippi State University
TFAP Feminist Solidarities and Kinships, Panel 3 – Exhibitions and Curatorial Spaces
The Feminist Art Project (TFAP)
Saturday, February 19, 2022, 12:30 PM – 2:00 PM CST
Erina Duganne, Texas State University
Susan E. Richmond, Georgia State University – School of Art and Design
Tatiana E. Flores, Rutgers University
New Frontiers: Creating, Collecting, Preserving and Displaying Digital Based Art of Russia and Eastern Europe
Saturday, February 19, 2022, 4:30 PM – 6:00 PM CST
Natalia Kolodzei. Kolodzei Art Foundation
Museum Sessions, March 3-5
Curatorial Care: Feminist and Queer Practices
Friday, March 4, 2022, 9:00 AM – 10:30 AM CST (10:00 AM – 11:30 AM EST)
Nomusa Makhubu, University of Cape Town
The Global Rise of Traveling Exhibitions at Mid-Century
Friday, March 4, 2022, 9:00 AM – 10:30 AM CST (10:00 AM – 11:30 AM EST)
Agata Justyna Pietrasik
Magdalena Moskalewicz, School of the Art Institute of Chicago
Activist Exhibitions
Friday, March 4, 2022, 4:30 PM – 6:00 PM CST (5:30 PM – 7:00 PM EST)
Rebecca J. DeRoo, Rochester Institute of Technology
New Age of Teaching the Art of the Islamic World
Museum Committee
Saturday, March 5, 2022, 9:00 AM – 10:30 AM CST (10:00 AM – 11:30 AM EST)
Xenia Gazi, School of the Art Institute of Chicago
Reconsidering Art History Through Access
Saturday, March 5, 2022, 9:00 AM – 10:30 AM CST (10:00 AM – 11:30 AM EST)
Sara Catherine Woodbury, College of William and Mary
Curating Craft: Contemporary Making in Global Museums of Islamic Art
Saturday, March 5, 2022, 11:00 AM – 12:30 PM CST (12:00 PM – 1:30 PM EST)
Leslee Michelsen, Doris Duke Foundation for Islamic Art at Shangri La
New Perspectives in Art, Design, and Art History: Supporting and Showcasing Emerging Voices from Marginalized Communities
Committee on Diversity Practices
Saturday, March 5, 2022, 2:30 PM – 4:00 PM CST (3:30 PM – 5:00 PM EST)
Stefanie Snider, Kendall College of Art and Design
Rachel Lynn de Cuba, Clemson University
Announcing CAA’s 110th Annual Conference Keynote Speaker: Juan Salgado
posted by CAA — December 13, 2021
Please join us February 16th at CAA’s Annual Conference Convocation for a keynote speech by Chancellor Juan Salgado. As Chancellor of City Colleges of Chicago, Salgado oversees Chicago’s community college system, serving 68,000 students across seven colleges. Seventy-four percent of credit students are Black and Latinx students. His initiatives have helped to stress the importance of the arts and the humanities to these audiences, such as the development of City Colleges’ partnership with the Joffrey Ballet Company, securing free access to Chicago’s cultural gems, including the Art Institute of Chicago, for City Colleges students and faculty, and supporting a Center of Equity in the Creative Arts at Kennedy-King College, one of the seven City Colleges of Chicago.
Under Salgado’s leadership, City Colleges of Chicago has seen an increase in student graduation rates to the highest level on record, an unprecedented systems-level partnership with the Chicago Public Schools, the launch of Fresh Start, a first-ever debt forgiveness program, the creation of Future Ready, which offers short-term programs at no cost, the completion of two new major state-of-the-art facilities, a re-energizing of fundraising for student supports, and campus specific plans focused on equity in student outcomes, among other efforts.
Salgado’s career has focused on improving education and economic opportunities for residents in low-income communities. Chancellor Salgado is a community college graduate himself, earning an associate degree from Moraine Valley Community College, prior to earning a Bachelor’s degree from Illinois Wesleyan University, and a Master’s degree in Urban Planning from the University of Illinois at Urbana-Champaign.
From 2001 to 2017, Salgado served as CEO of Instituto del Progreso Latino, where he worked to empower residents of Chicago’s Southwest Side through education, citizenship, and skill-building programs that led to sustainable employment and economic stability. He has been nationally recognized for his work, including as a 2015 MacArthur Fellow. Among his civic commitments, he serves as a board member of the Obama Foundation.
Register for CAA’s upcoming conference and learn more at our registration and program schedule pages.
Note: As of January 7, all in-person sessions and activities scheduled for February 16-19 in Chicago are now virtual on the same dates. Virtual sessions and activities scheduled for March 3-5 will remain the same. The virtual Book and Trade Fair will be accessible from February 16 to April 14. Registrants can view recorded content until April 14, 2022. This change will allow for more access and engagement, regardless of location.
110th Annual Conference Designs
posted by CAA — December 13, 2021
This year, CAA partnered with The School of the Art Institute of Chicago’s (SAIC) College Arts Access Program (CAAP), which held a design competition for CAA’s upcoming Annual Conference. This three-year college bridge program provides Chicago Public Schools students who are dedicated to studying art and design with the skills and preparation needed for admission to and success at SAIC, art and design schools, or post-secondary institutions. Eight CAAP students participated in a graphic design workshop to produce designs for the CAA Annual Conference. Led by SAIC Alum Jenna Russo, students designed work based on the prompt “Chicago: City in a Garden.”
We are excited to share the winning design for the conference’s tote bag by Betty Leisen. It will be available at the Annual Conference, made possible by SAIC.
This second design was created by Ethan Rodriguez and will be presented at the conference digitally.