CAA News Today

CAA is pleased to announce this year’s participants in the CAA-Getty International Program. Now in its twelfth year, this international program, supported by the Getty Foundation, welcomes twelve new participants and four alumni to attend the 2023 Annual Conference in New York City. The goal of the CAA-Getty International Program is to increase international participation in CAA’s activities and the field of visual arts in academia, thereby expanding international networks and the exchange of ideas both during and after the conference. We look forward to welcoming this year’s participants!  

At a pre-conference colloquium, the new participants will discuss key issues in the international study of art history together with CAA-Getty alumni and US hosts. The program will delve into topics such as postcolonial and Eurocentric legacies, decolonization of museums, scholarship and pedagogy, interdisciplinary and transnational methodologies, and the intersection of politics and art history. Learn more about the first ten years of the program in our online publication. 

Program participants—art historians, curators, and artists—hail from multiple countries, expanding CAA’s international membership and contributing to an increasingly diverse community of scholars and ideas. Selected by a jury of CAA members from a highly competitive group of applicants, each participant will receive funding for travel, hotel accommodation, conference registration, CAA membership, and a per diem. 

Alumni invited back to the 2023 conference will present at the Global Change, Crisis, and the State of the Visual Arts session while also connecting our new participants with our burgeoning group of nearly 150 CAA-Getty International Program alumni.  

REGISTER FOR CAA 2023

2023 PARTICIPANTS IN THE CAA-GETTY INTERNATIONAL PROGRAM 

Marina Grzinic is a principal research associate at the Research Centre of the Slovenian Academy of Sciences and Arts (ZRC SAZU) in Ljubljana, Slovenia, where she is affiliated with the Institute of Philosophy. She holds a PhD in philosophy and is an artist with a forty-year career. She has been a professor at the Academy of Fine Arts Vienna, Austria, since 2003, in charge of the Studio of Conceptual Art (Post-Conceptual Art Practices) at the Institute of Fine Arts. Grzinic is the principal investigator of the Austrian Science Fund and Programm zur Entwicklung und Erschließung der Künste (FWF-PEEK) project “Conviviality as Potentiality” (2021–25). She was also the principal investigator of the FWF-PEEK project “Genealogy of Amnesia (Opposing Colonialism, Antisemitism and Turbo-Nationalism)” (2018–21). Her areas of expertise include contemporary philosophy, contemporary art, the study of coloniality and decoloniality, transfeminism, the analysis of racism, antisemitism, nationalism, and the study of memory and history in the context of resistance. 

Amrita Gupta is an art historian, writer, educator, and editor who works across art education and cultural management. In 2002, she joined the Mohile Parikh Center (MPC), Mumbai, and became its program director in 2005, facilitating critical thinking by curating a wide range of innovative art education programs. She runs the website V-IDEO: Ideas worth Sharing, an archive of short videos on Indian artists for which MPC is the knowledge partner. She received an MFA in art history from Viswabharati University, Santiniketan 2002.  

Her writings on modern and contemporary art have been published in anthologies, journals, and websites in India and internationally, and she has authored and edited art books for children. She was a visiting lecturer in art history at the Sir J. J. School of Art, Mumbai; a fellow at ARThink South Asia (ATSA); a research grantee from the India Foundation for the Arts, and curatorial advisor for Art1st Foundation, Mumbai. Her current art historical research is on Northeast India, framing the region as a “critical art geography” where one can attend to meanings that engage with global modernism and heterodox contemporaneity drawn through one’s own historical position. An essay from this research has been published in the book 20th Century Indian Art (Thames & Hudson, 2022). She is cofounder and executive editor of the independent e-journal, Partition Studies Quarterly which focuses on partition stories of Northeast India within the larger discourse of the partition in the subcontinent.  

Delaram Hosseinioun was born and reared in Tehran, Iran, and seeks to reflect the voice of Persian women in creative and comparative narratives in spite of borders and restrictions. Delaram received an MA in literary criticism from the University of Exeter and another in cultural studies from KU Leuven University. Through her PhD project at Utrecht University, titled “Unveiling the Other: The Metamorphosis of Feminist Persian Art from the Mid-Twentieth Century to the Present Day,” Delaram draws from gender theories in French psychoanalysis, such as in the works of Hélène Cixous and Judith Butler, and continental philosophy, namely in the work of Mikhail Bakhtin and Jacques Derrida. Working with artists and scholars around the world, Delaram deciphers artworks as pictorial dialogues and as artists’ attempts to surpass sociocultural restrictions. The revelation and universality of the feminine voice frame her core vision. Delaram’s other passion is art journalism and interviewing artists beyond borders.  

Brigitta Isabella is a researcher of art history, critical theories, and cultural studies. Her research trajectory revolves around the (im)mobility of artists and the (im)mobilization of art within the geopolitical and geoaesthetic terrains of transnational solidarity. By looking into the transnational traffic of artists, objects, and ideas, she reexamines the reciprocity between nationalism and internationalism and how artistic traces of Third World solidarity can play a discursive part in decentralizing global art history. She studied philosophy at Gadjah Mada University, Yogyakarta, Indonesia, and gained her MA in critical methodologies at King’s College, London. She is also a part of a research-action group called Kunci Study Forum & Collective and serves as the coeditor of Southeast of Now: Directions in Contemporary and Modern Art in Asia, a peer-reviewed journal published by NUS Press. She is a lecturer at the Faculty of Visual Arts in Indonesian Institute of the Arts, Yogyakarta.  

Żanna Komar, PhD, was born in Ukraine, lives in Poland, and is an art historian, theoretician of architecture, and exhibitions curator. She is a member of the academic staff at the Institute of European Heritage, part of the International Cultural Centre, Kraków, where she works as a content specialist. She specializes in urban studies, social and art history, and the theory and protection of cultural heritage. She is the author of numerous publications on the history of architecture and art, including the book Trzecie miasto Galicji. Stanisławów i jego architektura w okresie autonomii galicyjskiej (The third city of Galicia. Stanisławów and its architecture in the period of Galician autonomy, 2008). She writes about Art Nouveau, historicism, modernism, and contemporary art, and about totalitarian and modern architecture in present‑day Poland and Ukraine.   

Larisa Mantovani holds a PhD in history from the Escuela Interdisciplinaria de Altos Estudios Sociales, Universidad Nacional de San Martín, Buenos Aires. She has a BA in art history and a teacher training degree in art history from Universidad de Buenos Aires. She is a postdoctoral fellow at the Research Center in Art and Heritage of the National Scientific and Technical Research Council (CIAP/UNSAM-CONICET). She works as an assistant professor of history of decorative arts I and II at the Universidad del Salvador. Both her dissertation and current postdoctoral research focus on applied arts and the links between art, education, and industry in Argentina in the first half of the twentieth century.  

Thabang Monoa’s research interests involve art history, art criticism, visual culture, curatorial practice, and cultural studies. He completed his undergraduate studies at the Tshwane University of Technology and then went on to do a master’s degree in visual art at the Faculty of Art, Design and Architecture, University of Johannesburg. He later worked as an art historian in the faculty’s department of visual art. His doctoral study, which he undertook with the SARChI Chair in South African Art and Visual Culture, focused on the notion of Blackness in Afrofuturist aesthetics. Monoa is a member of the College Art Association (CAA) in the USA; a former council member of the South African Visual Art Historians (SAVAH); and is coconvenor of the Gerard Sekoto Winter/Summer School, which is administered through the Johannesburg Art Gallery. In his current capacity as a lecturer in Art History at the University of Cape Town’s Michealis School of Fine Art, Monoa continues to generate scholarly output concerning racial aesthetics, notions of futurity, and Black radical thought. 

Haoxue Nie is an assistant professor at the School of Art and Humanities, Guangzhou Academy of Fine Arts. She holds a PhD in Western modern art history and theory from the China Academy of Art (2018). Her dissertation was published as a monograph in 2019 titled Beyond Boundaries: George Ault and Early Modern American Art. She was a recipient of the Getty Foundation grant for the 35th CIHA Congress (2019) and the international Travel Grant by Terra Foundation for American Art (2016).   

Her research covers the first half of twentieth-century American art history, especially from the 1920s to the 1950s. Recently, she has been focusing on the visual ideology of cityscapes within this period and how they remained minor artworks in the mainstream of art history, as well as the concept of time, space, and subjectivity as formal, ideological, and psychological manifestations. The intertextuality among easel painting, modern photography, and films with urban themes in American modernism is also a part of her scholarly explorations.  

Zuzanna Sarnecka is an assistant professor of art history at the University of Warsaw (Poland).  She earned her PhD in history of art at the University of Cambridge (2017). She is the author of The Allure of Glazed Terracotta in Renaissance Italy (Brepols, 2021) and coeditor of The Agency of Things in Medieval and Early Modern Art. Materials, Power and Manipulation (Routledge, 2017) and The Materiality of Terracotta Sculpture in Early Modern Europe (Routledge, 2023). Her current research focuses on the adaptation of technique of tin-glazed earthenware from the Italian peninsula across Central Europe. In her work, she aims to construct more inclusive narratives through close investigation of microhistories that have long remained ignored, not because of the lack of sources, but because of the cult of masterpieces. She promotes multisensory perspective in studies of the arts of the past, as more immediately significant for the twenty-first-century beholder, than stylistic attributions and dating.  

Jakub Stejskal is a MASH junior research group leader at the Department of Art History, Masaryk University, Brno, where he heads the research group Remote Access: Understanding Art from the Distant Past. He has held fellowship positions at eikones (University of Basel) and Freie Universität Berlin. He holds a PhD in aesthetics from Charles University, Prague. His research interests lie at the intersection of archaeology, art history, anthropology, and philosophical aesthetics. He is the author of Objects of Authority: A Postformalist Aesthetics (Routledge, 2022) and his work has appeared in Critical Inquiry, World Art, Journal of Aesthetics and Art Criticism, and RES: Anthropology and Aesthetics. 

Cheryl Chelliah Thiruchelvam holds a PhD in art history and is currently attached to the Advertising Department, Faculty of Arts and Social Science at Universiti Tunku Abdul Rahman (UTAR), Malaysia. Her research interests are Hindu-Buddhist visual arts of the Southeast Asian region and to a lesser extent feminist studies. Her latest publication is a book chapter on the prevalence of the Ramayana epic in Malaysian visual arts for the book The Multivalence of an Epic: Retelling the Ramayana in South India and Southeast Asia (Manipal Universal Press, 2021). She also has a forthcoming coauthored essay entitled, “Tracing Indian Cultural Connections in Malaysia and Brunei: From Early Candis to Modern Art,” for the book Connected Histories of India and Southeast Asia: Icons, Narratives, Monuments that will be published by SAGE Publications India. Besides that, she is also interested in writing criticism, reviews, and commentary within the Malaysian art scene. 

Tanja Trška is assistant professor at the Department of Art History, Faculty of Humanities and Social Sciences, University of Zagreb, Croatia, where she teaches courses on early modern art in Europe and present-day Croatia. She received her PhD in art history from the Scuola Normale Superiore in Pisa, Italy (joint supervision with the Faculty of Humanities and Social Sciences, University of Zagreb) in 2014. Her research interests center on early modern art and architecture, the exchange of cultural and artistic experiences between Italy and the eastern Adriatic coast, art patronage, and history of collections. She has collaborated on Croatian Science Foundation’s research project “Visualizing Nationhood: The Schiavoni/Illyrian Confraternities and Colleges in Italy and the Artistic Exchange with South East Europe (15th–18th centuries)” (2015–18) and is currently a team member of the research project “Provenance Research on Artwork in Zagreb Collections” (2020–24). 

PARTICIPATING ALUMNI 

Patricia D. Meneses is an assistant professor of art history at the University of Campinas (Brazil). She earned her PhD in history of the visual arts at the University of Pisa (2009). She is the author of Baccio Pontelli a Roma. L’attività dell’architetto per Giuliano Della Rovere (Felici Editore, 2010) and editor of several books, such as Arte Não-Europeia: Conexões historiográficas a partir do Brasil (Estação Liberdade, 2020) and A imagen como experimento. Debates contemporâneos sobre o olhar (Milfontes, 2021). In 2019, she was Hans Jonas visiting professor at the University of Siegen, where she taught a course on “exotic” materials in art history. She is currently part of a Connecting Art Histories project sponsored by the Getty Foundation (“Teaching and Researching Non-European Art at Brazilian Universities”). Her research focuses on the connections between art, science, and ecology in the nineteenth century. 

Natalia Moussienko is a leading research fellow at the Modern Art Research Institute of the National Academy of Arts of Ukraine (Kyiv). She is the author of numerous books and articles on art history, cultural diplomacy, cinema, and urbanism, including Art of Maidan (2016), Kyiv Art Space (2013), and Arts and Politics (2002). In 2016 the National Academy of Arts of Ukraine awarded Dr. Moussienko a gold medal for her achievements in cultural diplomacy. She was also awarded a Fulbright scholarship to conduct research at the Kennan Institute, Wilson Center, in Washington, DC (2011–12), and a Thesaurus Polonia Fellowship to study at the International Cultural Center in Krakow (2017 and 2022). Dr. Moussienko is an initiator and curator of Art of Maidan, a continuing project begun in 2014 to document the explosion of artistic creativity during the Revolution of Dignity in 2013–14 and a Russo-Ukrainian war premonition in it. Central to the project is a book and exhibition that has already been presented in nineteen locations in Ukraine, the United States, and Europe. 

Shenouda Rizkalla Fahim Youssef is a trained archaeologist with extensive experience in archaeological fieldwork, database and collections management, and community outreach. His current research focus is on the museum practices in the Egyptian provinces, using the Akhenaton Museum in Minya, Egypt, as a case study. The museum, opening in 2023, will focus on the site of Tell el-Amarna, where the famous bust of Nefertiti, currently exhibited in the Egyptian Museum in Berlin, was found. The aims of the presentation are to analyze the archival resources for the history of the museum, develop community outreach programs by engaging the local population with the collection, and using this to develop avenues for future outreach activities. The results will be related to wider discussions of repatriation and postcolonial heritage management in Egypt.    

Rizkalla received a PhD in Egyptology from Helwan University, Egypt. His research has been diverse, working on recording and translating Ptolemaic Period hieroglyphics, creating and executing site management strategies, and addressing the looting of archaeological sites. He has been a member of many excavations and site management missions in Egypt since 2012, has given numerous presentations and invited talks, and has written a number of academic reports and publications.   

J. Kelechi Ugwuanyi is a senior lecturer in the department of archaeology and tourism, University of Nigeria, Nsukka. He is currently a postdoctoral research fellow at the Global Heritage Lab, Transdisciplinary Research Area: Present Pasts, University of Bonn, Germany. Kelechi has a PhD in heritage studies from the University of York, UK, and MA and BA in archaeology and tourism as well as a diploma in tourism and museum studies from the University of Nigeria. He is a coeditor of the Journal of African Cultural Heritage Studies and sits on the editorial board of the Studies in Contemporary and Historical Archaeology in Theory book series published by the Archaeopress. Kelechi’s research interests are critical heritage studies, museum, Indigenous knowledge systems, tourism, and contemporary archaeology. His current research revisits the originating communities of ethnographic archives collected from Africa during colonialism to reengage members of the descendant communities to understand their changing significance in the present. 

We’re pleased to announce this year’s participants in the CAA-Getty International Program. Now in its eleventh year, this international program supported by the Getty Foundation will all twelve new participants and four alumni to participation in the 2022 Annual Conference. Learn more about the first ten years of the program in our online publication.

At a pre-conference colloquium, the new participants will discuss key issues in the international study of art history together with CAA-Getty alumni and US hosts. The program will delve into topics as postcolonial and Eurocentric legacies, interdisciplinary and transnational methodologies, and the intersection of politics and art history. 

Alumni invited back to the 2022 conference will present in the session Can Art History Be Affective? Empathy, Emotion and the Art Historian, chaired by Getty alumni and International Committee members Nora Veszpremi and Cristian Nae, while also providing an intellectual and social link between new participants and our burgeoning group of CAA-Getty International Program alumni.  

The goal of the CAA-Getty International Program is to increase international participation in CAA’s activities and the field of visual arts in academia, thereby expanding international networks and the exchange of ideas both during and after the conference. We look forward to welcoming the following participants. 

REGISTER FOR CAA 2022

2022 PARTICIPANTS IN THE CAA-GETTY INTERNATIONAL PROGRAM 

Tatiana Muñoz Brenes is an art curator and researcher. She has combined the exercise of cultural management with Social Sciences by having degrees in Art History and Psychology, both from the University of Costa Rica. Her training has allowed her to work on the topics of community museums, sustainability, collection research, curating exhibitions and curatorial accompaniment for artistic production. Currently, her work focuses mainly on queer art and the LGBTIQ+ community in Latin America. In addition, she has extensive experience in international projects, lectures, publications and museum training in Scotland, Portugal, Spain, China, Japan, Ecuador, and other countries. Projects can be found at www.arthistorylady.com 

Simona Cupic is Professor at the Department of Art History, University of Belgrade, Serbia. Her fields of research and teaching include art and culture between the World Wars, and the 1950s and 1960s. She is particularly interested in the visual and popular culture between 1920s and 1960s. She is the author of Mona Lisa & Superman. John F. Kennedy and the New Frontier of the Culture (2016), Elain de Kooning. Portraits (with Brandon Brame Fortune, Ann Eden Gibson, 2015), The JFK Culture (edited volume, 2013), and Bourgeois Modernism and Popular Culture. Episodes of the Fashionable, Faddish and Modern (1918-1941) (2011), among others.  

Anica Draganić is an architectural historian, conservator and multimedia artist who currently serves as an Associate Professor at the University of Novi Sad, Serbia. She received her PhD in Architectural History and Heritage Preservation from the University of Belgrade with a dissertation on Austro-Hungarian historical breweries. Her work focuses on nineteenth- and twentieth-century European architecture, with particular emphasis on industrial heritage and identity issues in the intercultural context of Central Europe. Her extensive research on the architectural heritage of the Vojvodina region has been published in journals, conference proceedings, and books, but also presented in numerous exhibitions. Her most recent book, Shadows and Silhouettes of Industrial Past of Vojvodina, shows the complexities of the socio-political context in which the industrial architecture of a specific multicultural region emerged, developed and disappeared. She is currently particularly interested in European architecture from the socialist period, exploring its historical values and contemporary potential.  

Heba Khairy Metwaly is an Exhibition coordinator at the Grand Egyptian Museum. She Oversees and provide rigorous, accurate and efficient exhibition coordination and follow up all aspects of exhibition development between all partners in the GEM. She is a PhD researcher specialized in the Collection Management and Documentation Practices in different museums. Heba has participated in many international and national field projects and studies focusing on the tangible and intangible material culture preservation and local community engagement and development. Heba has participated in the development of the daily life gallery “P34” at the Egyptian Museum of Cairo, the European Union Funding Project of Transforming the Egyptian Museum. In 2017 she participated in the British Museum International Training Program, where she curated the Object in Focus temporary exhibition. She Also participated in many international conferences focusing on the preservation of museum collection and exhibition design.  

Roma Madan Soni is an art historian with a PhD from the University of Wolverhampton, an Assistant professor at Box Hill College Kuwait, an ecofeminist-artist, and a researcher. Her art, teaching, and research are interdisciplinary, positioned at the node of ecofeminism: practice, theory and history, and contemporary visual politics. Her articles are published in Journal of Visual Art Practice, Feminist Media Studies, Ecofeminism and Climate Change, Crafts Research, Art & The Public Sphere, Necsus, International Feminist Journal of Politics, Journal of Gender Studies, Swasti, and a chapter in Cambridge Scholars. She collaborated for conference presentations and conducted workshops at CAA, SVIMS-Pune, JNU, LSR, Raza Foundation, University of Wolverhampton, Kuwait-Nuqat, KISR, TEDx Global Day- Gulf University of Science and Technology, Dar Al Athar-Yarmouk, Kuwait University, American University of Kuwait, Box Hill College Kuwait, American Open University, UN Habitat and Beit Sadu. She has exhibited at Kunsthaus-Steffisburg, TAPRI-Finland, DarAlAthar AlIslamiyah, The Scientific Centre Kuwait, MOMA-Kuwait, Masaha13, Artsy, Mayinart, Artling, Saatchi galleries, and painted the book-cover for Routledge Handbook of Feminist Peace Research (2021). Research grants, commissions and awards from The Scientific Centre Kuwait, Kuwait Foundation of Advanced Sciences, Kuwait Institute of Scientific Research, UN Habitat, and Arab Open University aided her research and creations. She is a member of the Museum Committee and a Reader for the Council of Readers at CAA. I chair the “Transformative Education Think Tank”-Collective Impact Coalition-Konrad Adenauer Stiftung to address Kuwait’s academic challenges. Her work has been accepted at the Venice Art Fair and Florence Biennale 2021.  

Patricia D. Meneses is an assistant professor of Art History at the University of Campinas (Brazil).  She earned her PhD in History of the Visual Arts at the University of Pisa (2009). She is the author of Baccio Pontelli a Roma. L’attività dell’architetto per Giuliano Della Rovere (Felici Editore 2010) and editor of several books, such as Arte Não-Europeia. Conexões historiográficas a partir do Brasil (Esta ção Liberdade 2020), and A imagen como experimento. Debates contemporaneous sobre o olhar (Milfontes 2021). Recently, she was Hans Jonas visiting professor at the University of Siegen (2019), where she taught a course on “exotic” materials in Art History. She is currently part of a Connecting Art Histories project sponsored by the Getty Foundation (“Teaching Non-European at Brazilian Universities”). Her research focuses on the connections between art, science and ecology in the nineteenth-century. She is presently developing a book project about hummingbird’s ecology in Brazilian visual culture. 

Akinwale Onipede is an art historian, researcher and teacher at the University of Lagos, Nigeria. He trained at the University of Benin, and, the University of Lagos, where he works in the area of the interface of global and local cultures and identities as expressed in visual arts. His main interest is in how developments globally in the philosophies, techniques, products and opportunities in visual arts, have affected its contemporary practice and direction in Nigeria. The universalization of cultures, consequent upon globalization, he argues, is skewed in favor of the West, whose culture is endorsed, whose pocket is deepest and whose machinery is most efficient, in the promotion of the direction of visual arts studies, practice, articulation and documentation. He is of the position that the continent that produced the great pyramids, the Nok, Igbo Ukwu, Ife and Benin masterpieces should play crucial roles in contemporary promotion of the arts. 

Melissa M. Ramos Borges is an art historian with a predilection for the (re)vision of the discipline. She obtained her doctorate from the Programa de Estudios Artísticos, Literarios y Culturales with a specialty in Art History at the Universidad Autónoma of Madrid, where she presented the first comprehensive study of avant-garde art produced between 1960-1980 in Puerto Rico. She is a professor of Art History and Theory at the University of Puerto Rico, Mayagüez and Río Piedras Campus. In addition, she is an independent researcher and curator who has published and presented her exhibitions and articles in various international platforms. She curated SUZI FERRER, the first retrospective exhibition of the groundbreaking feminist avant-garde artist, presently on view at the Museo de Arte y Diseño de Miramar.  She is currently working on publishing a catalogue with contributions from various scholars which will accompany an upcoming traveling SUZI FERRER exhibition.  

Shenouda Rizkalla is a trained archaeologist with extensive experience in archaeological fieldwork, database and collections management, and community outreach. His current research focus is the museum’s role in preserving the local community identity, applied to the content and display of the Sharm El-Sheikh museum and build up a sustainable community outreach program by engaging the local population with the collection and relate the results to wider discussions of repatriation and post-colonial heritage management in Egypt. Rizkalla is an Egyptology PhD graduate from Helwan University-Egypt. His research to date has been diverse, working on recording and translating Ptolemaic Period hieroglyphics, creating and executing site management strategies, and addressing the looting of archaeological sites. He is a member of many excavations and site management missions inside Egypt since 2012. He has many Presentations and Invited Talks, Academic Reports and Publications.   

Nsima Stanislaus Udo is a Nigerian and an Africanist scholar.  He completed his BA in History and International Relations in Ile-Ife, Nigeria. He then proceeded to South Africa where he completed his Honors and MA degrees (cum laude) at the University the Western Cape in Visual History and Theory. He lives in Cape Town and is a doctoral candidate at the University of the Western Cape. His research interest is in African cultural studies: in thinking around visual representations, histories and meanings of African cultural and festival practices. His doctoral research is currently looking at the history of Calabar Festival and Carnival, Nigeria. He is exploring the multiple-layered cultural, visual, aesthetic, economic and secular representations of this complex and elaborate festival. Nsima Stanislaus Udo presently serves as a teaching and research assistant at the Faculty of Art in the same university.  

John Kelechi Ugwuanyi is a senior lecturer and the coordinator of postgraduate studies in the Department of Archaeology and Tourism, University of Nigeria, Nsukka. He had his PhD in heritage studies at the University of York and MA and BA in Archaeology and Tourism at the University of Nigeria. His research interest is critical heritage studies, museum, indigenous knowledge systems, tourism, and contemporary archaeology. He is the co-editor of Journal of African Cultural Heritage Studies and sits on the editorial board of the Studies in Contemporary and Historical Archaeology in Theory book series published by the Archaeopress in Oxford as part of the British Archaeological Report series of monograph. Kelechi has published in national and international journals of repute. He is a fellow of the American Council of Learned Societies and a recipient of other scholarship/grant including the Overseas Research Scholarship of the University of York, UK. 

Elizabeth Catoia Varela holds a PhD in History and Criticism of Art from the Federal University of Rio de Janeiro, Brazil (2016). She worked at the Research and Documentation Center of the Modern Art Museum of Rio de Janeiro – MAM Rio (2009-2021). Her dissertation was published as a book in 2017 (Concrete Art Beyond Europe: Brazil, Argentina and the MAM Rio). She published other three books about the history of the museum. Varela was the curator of the exhibition “MAM: its history, its heritage” (2013-2016). She was awarded in 2020 with the AAM-Getty International Program/American Alliance of Museums and is a member of the College Art Association (CAA) and the International Council of Museums (ICOM).  

PARTICIPATING ALUMNI 

Nadhra Shahbaz Khan is Associate Professor of Art History and the Director of the Gurmani Centre for Languages & Literature at LUMS, Lahore, Pakistan. A specialist in the history of art and architecture of the Punjab from the sixteenth to the early twentieth century, Dr. Khan’s research covers the visual and material culture of the region during the Mughal, Sikh, and colonial periods. Her interest lies in investigating levels of human agency behind artefacts and architectural spaces, both as creators and consumers to understand their political, religious and socio-economic ambitions at different historical intersections. Her publications, conference papers and other research activities spread over more than a decade, especially her book titled Maharaja Ranjit Singh’s Samādhi in Lahore: A Summation of Sikh Architectural and Decorative Practices has successfully brought Sikh art and architecture to the forefront of Pakistan’s heritage discussions and conservation activities.    

Halyna Kohut is an associate professor in the Faculty of Culture and Arts at the Ivan Franko National University of Lviv, Ukraine, where she teaches history of art, contemporary art, feminist art, and history of theatrical costume. Educated as an artist, she received her Ph.D. from the Lviv National Academy of Arts. Kohut is the CAA-Getty International Program alumna and a recipient of scholarships and grants from the Samuel H. Kress Foundation, Austrian Agency for International Mobility and Cooperation, the Canadian Institute of Ukrainian Studies at the University of Alberta, and the Queen Jadwiga Foundation at the Jagiellonian University in Cracow. Kohut specializes in eighteenth-century East European carpets and kilims. Her most recent research interest focus on woman art in Soviet Ukraine. She is especially interested in how ideology informed the identities of women artists and how they challenged that ideology with their art practices.  

Irena Kossowska graduated from the Warsaw University in 1980. She obtained a Ph.D. degree and Habilitation at the Institute of Art of the Polish Academy of Sciences, in 1990 and 2001 respectively. Currently she is Full Professor of Art History at the Nicolaus Copernicus University in Torun, and at the Polish Institute of World Art Studies in Warsaw. She specializes in the field of nineteenth- and twentieth-century visual arts, art theory, and criticism. She is the recipient of numerous awards and fellowships, including from the Bogliasco Foundation, Center for Advanced Study in the Visual Arts, Smithsonian Institution, Zentralinstitut für Kunstgeschichte, National Humanities Center, Institut national d’histoire de l’art, Henry Moore Institute, and the British Academy. She has written extensively on Polish and European art, including Artistic Reconquest: Art in Interwar Poland and Europe, The Search for Cultural Identity in Eastern and Central Europe 1919-2014, Symbolism and Young Poland; Reinterpreting the Past: Traditionalist Artistic Trends in Central and Eastern Europe of the 1920s and 1930s; and The Beginnings of Polish Original Printmaking 1897-1917. 

Ana Mannarino is an art historian and a professor of art history in the School of Fine Arts and the Visual Arts Postgraduate Program at the Federal University of Rio de Janeiro, where she received her PhD in history of arts and visual arts. Her research focuses on Brazilian modern and contemporary art, particularly on the relationship between text and image, art and poetry, and the production of artists’ books. 

We’re pleased to announce this year’s participants in the CAA-Getty International Program. Now in its ninth year, this international program supported by the Getty Foundation will bring fifteen new participants and five alumni to the 2020 Annual Conference in Chicago, Illinois.

The participants—professors of art history, curators, and artists who teach art history—hail from countries throughout the world, expanding CAA’s growing international membership and contributing to an increasingly diverse community of scholars and ideas. This year we are adding participants from four countries not included previously—Bolivia, Saudi Arabia, Côte d’Ivoire, and Singapore—bringing the total number of countries represented by the program to fifty. Selected by a jury of CAA members from a highly competitive group of applicants, the participants will receive funding for travel expenses, hotel accommodations, conference registration, CAA membership, and per diems for out-of-pocket expenditures.

At a one-day preconference colloquium, to be held this year at the School of the Art Institute of Chicago, the fifteen new participants will discuss key issues in the international study of art history together with five CAA-Getty alumni and several CAA members from the United States, who also will serve as hosts throughout the conference. The preconference program will delve deeper into subjects discussed during last year’s program, including such topics as postcolonial and Eurocentric legacies, interdisciplinary and transnational methodologies, and the intersection of politics and art history.

This is the third year that the program includes five alumni, who provide an intellectual link between previous convenings of the international program and this year’s events. They also serve as liaisons between CAA and the growing community of CAA-Getty alumni. In addition to serving as moderators for the preconference colloquium, the five alumni will present a new Global Conversation during the 2020 conference titled Things Aren’t Always as they Seem: Art History and the Politics of Vision.

The goal of the CAA-Getty International Program is to increase international participation in the organization’s activities, thereby expanding international networks and the exchange of ideas both during and after the conference. CAA currently includes members from sixty countries around the world. We look forward to welcoming the following participants at the next Annual Conference in Chicago.

REGISTER FOR CAA 2020

2020 Participants in the CAA-Getty International Program

Irene Bronner is a senior lecturer with the South African Research Chair in South African Art History and Visual Culture, Faculty of Art, Design and Architecture, University of Johannesburg, South Africa. Her doctorate (DLitt et Phil), titled “Representations of Domestic Workers in Post-apartheid South African Art Practice,” was conferred by the University of Johannesburg in 2016. She then held a three-year postdoctoral research fellowship with the same institution, during which time she received a Postdoctoral Research Fellows’ Excellence Award. Her research interests center on feminist studies in the visual arts, with a focus on contemporary southern Africa. She works principally with feminist, queer and postcolonial cultural theory as well as issues of memory, affect, gender, and the aftermath of trauma.  She has published in local and international journals, recently in Woman’s Art Journal and Textile: Journal of Cloth and Culture.

Eiman Elgibreen is an artist and an assistant professor of art history at the Princess Nourah bint Abdulrahman University in Riyadh, Saudi Arabia. She obtained a PhD in art history from the University of Sussex (UK) for her research on “Image Making: Representations of Women in the Art and Career of Safeya Binzagr 1968-2000.”  Since 2011 Elgibreen has also been a freelance writer for Al-Riyadh Daily Newspaper and Al-Jazirah Daily Newspaper, and an art consultant for organizations that are concerned with preserving the legacy of Saudi pioneer artists such as Darat Safeya Binzagr (a museum devoted to the artist’s work), and Saudi Arts House (a family foundation devoted to the work of Mohammed Alsaleem). In addition, she has curated a number of art exhibitions, including the Saudi National Pavilion at the 58^th Venice Biennale, 2019. Elgibreen is interested in exploring the forgotten and/or misrepresented aspects of Saudi and Arab culture through her research and her art. A goal of her work is to encourage acceptance of cultural differences.

Dária G. Jaremtchuk is an associate professor of art history at the Universidade de São Paulo, Brazil, where she teaches undergraduate and graduate courses on contemporary art. As Fulbright Brazil Distinguished Chair at Emory University in 2019, she taught a course in the art history department about Brazilian contemporary visual arts. In 2018, she was a visiting scholar at Georgetown University and at Brown University in 2011. In 2010, she edited the book Arte e política: situações (Art and politics: situations) (Alameda Editora) and in 2007 she published Anna Bella Geiger: Passagens Conceituais (Anna Bella Geiger: conceptual passages) (C/Arte and Editora da Universidade de São Paulo). She is currently researching the relocation of Brazilian artists during the Brazilian military dictatorship of the 1960s and 70s and the artistic exchange between Brazil and the United States at that time. She has published on this topic in journals, conference proceedings, and book chapters.

Ganiyu Jimoh received a PhD in art history from the University of Lagos, Nigeria, where he is also a lecturer. He is currently a postdoctoral fellow with the Arts of Africa and Global Souths research program in the Department of Fine Art at Rhodes University in South Africa. His research, which focuses on contemporary art, new media, satire, and cartoons has attracted major awards, including the prestigious University of Lagos Best Researcher Award in Arts and Humanities in 2011. In 2015 he received a grant to conduct research for his PhD dissertation at the African Studies Center at Michigan State University. Jimoh is also a recipient of the 2019 African Studies Association Presidential fellowship. As a scholarly writer who is also a practicing political cartoonist, Jimga (his cartoon signature) has several local and international exhibitions to his credit and currently serves as the secretary of Cartoonists Association of Nigeria (CARTAN).

Mariana Levytska is a research associate in the Department of Art Studies of the Ethnology Institute at the National Academy of Sciences of Ukraine in Lviv. She received a PhD in the history of art from the Lviv National Academy of Arts in 2003. Based on her thesis, she published a monograph about Ukrainian portrait painting as an artistic and memorial phenomenon of the long nineteenth century. In addition, she has worked as a senior lecturer from 2005–14 and associate professor in 2015 at the Department of Architectural Environment Design in the Faculty of Architecture of the Lviv National Agricultural University. Levytska’s current area of research is Ukrainian religious art of the eighteenth century (late Baroque-Rococo period), focusing on the concept of cultural transfer according to “peripatetic works of art (such as engravings and albums)” as well as peripatetic artists. She is also interested in issues of Ukrainian historiography of the art of the twentieth century.

Daniela Lucena holds a PhD in social sciences from the University of Buenos Aires (UBA) and specialize in the sociology of art and culture. A researcher at the National Scientific and Technical Research Council (CONICET) in Buenos Aires, she teaches sociology of art courses at UBA, where she is also head of a research team.  Since 2003 she has studied various aesthetical projects where art, culture, and politics are intertwined. Her books include Contaminación artística. Arte concreto, comunismo y peronismo en los años 40 (Artistic contamination: concret avant-garde, communism and Peronism in the 40s) (Biblios, 2015) and Modo mata moda. Arte, cuerpo y (micro)política en los 80 (Form kills fashion: art, body and [micro]politics in the 80s), coauthored with Gisela Laboureau, (EDULP, 2016). In addition to her work as researcher, since 2007 she has collaborated with PH15, a foundation that organizes photography workshops for children of vulnerable populations, assessing programs and community work linked to art.

Ali Mahfouz is the director of the Mansoura Storage Museum, part of the Ministry of Egyptian Antiquities. He received a BA in 2010 and an MA in Egyptology in 2017, both from Mansoura University. He is currently working on his PhD. Mahfouz began working as an inspector of antiquities at the Ministry of Antiquities in 2012. In August 2015 he was appointed the supervisor of the Mansoura Storage Museum and in October 2018 he became its director. With colleagues, Mahfouz founded Save Mansoura, a volunteer organization dedicated to raising public awareness about the value of cultural heritage and the restoration of historic sites. He is also the cofounder of the Documentation of Architectural and Urban Heritage of Mansoura City Project, which aims to document, digitize, and archive that city’s cultural history. His greatest concern is the fate of archaeological sites damaged or destroyed because of political conflicts and the need to preserve his country’s cultural heritage in the wake of that destruction.

Priya Maholay-Jaradi is the founding convenor of a new art history academic program, a collaboration between the National University of Singapore (NUS) and the National Gallery Singapore. She earned an MA in art history from the School of Oriental and African Studies, London (2001); a PhD from NUS (2012), and a postdoctoral fellowship at the International Institute for Asian Studies, Leiden (2013). A former curator at the Asian Civilizations Museum, Singapore, she has curated Portrait of a Community (National Gallery of Modern Art, Mumbai, 2002), Beauty in Asia (Asian Civilizations Museum, Singapore, 2007) and Tautology of Memory (NUS Museum, Singapore, 2012). Jaradi’s monograph, Fashioning a National Art: Baroda’s Royal Collection and Institutions (1875-1924) (Oxford University Press, 2016), mobilizes provincial archives to reveal links between princely modernities and nationalisms in South Asia. She is the volume editor of Baroda: A Cosmopolitan Provenance in Transition (Marg Foundation, 2015). Her current research examines India-Singapore museological imaginations within the context of cold war diplomacy, the Non-Aligned Movement, and decolonization.

Valeria Paz Moscoso specializes in modern and contemporary Bolivian art history. She is the academic coordinator and advisor in the Department of Culture at the Universidad Católica Boliviana (La Paz), where she is also a temporary lecturer and editor of the journal Ciencia y Cultura (Science and culture). Her PhD dissertation examined the concept of repression and emancipation in the work of Bolivian artist Roberto Valcárcel. Currently, she is researching the disruption of the narrative of Indigenism in contemporary art. Additional research interests include gender, humor, critical theory, postcolonial studies, and arts-based research. She has curated exhibitions in Bolivia and the United Kingdom, and published in journals such as ESCALA Research Papers, Ciencia y Cultura,  Bisagra (Hinge), Terremoto (Earthquake), and in the books Corrosión y Anomalía: escenas  del arte contemporáneo boliviano (Corrosion and anomaly: scenes from contemporary Bolivian art) (2019) and Bolivia: Los caminos de la escultura (Bolivia: the paths of sculpture) (2009), a publication selected for the Bicentennial Library of Bolivia.

Daria Panaiotti is a photography curator and research associate in the Contemporary Art Department of the State Hermitage Museum, St. Petersburg, Russia. She graduated with honors from the European University in St. Petersburg (EUSPB), where she is currently completing her PhD with a dissertation on the history of Soviet documentary photography in Brezhnev’s era. She is also a member of the program committee of the After Post-Photography international conference, the only annual conference on photographic theory and history in Russia. Previously she was involved in the project In Support of Photography in Russia, funded by the IRIS Foundation, Moscow, where she was a member of the curatorial team that organized exhibitions of Russian photography for FotoFest 2012—an international photography festival held every two years in Houston, Texas—and where she also participated in an international portfolio review for Russian photographers at the Garage Center for Contemporary Culture in Moscow in 2011.

Aleksandra Paradowska is a lecturer and researcher in the Department of Art History and Philosophy, Faculty of Art Education and Curatorial Studies, at the University of Fine Arts in Poznań, Poland. After receiving a PhD from the Adam Mickiewicz University in Poznań in 2013, she was a postdoctoral fellow at the University of Wrocław from 2014–17. Her research focuses on architectural history of the nineteenth and twentieth centuries, especially the relationship between architecture and politics. For the past five years she has studied Nazi architecture in Polish territories during the Second World War in relation to different perspectives of the humanities, that is, interdisciplinary views of postcolonial and heritage studies. Paradowska has published widely on Polish interwar architecture and received several scholarships:  from DAAD (Deutscher Akademischer Austauschdienst) in 2010, START by the Foundation for Polish Science in 2014, and a scholarship for leading young researchers in Poland by the Ministry of Science and Higher Education in 2017–19.

Saurabh Tewari received a BArch in 2008 from the Sushant School of Art and Architecture, Gurgaon/GGSIP University, Delhi (India), and a MDes in 2010 from the Industrial Design Center, Indian Institute of Technology Bombay. As a doctoral candidate in the Design Program at the Indian Institute of Technology Kanpur, he is attempting to map out and understand the shifting role of design in postcolonial India within the broader narrative of national development. Currently an assistant professor of design in the School of Planning and Architecture in Bhopal, Tewari has developed a curriculum that includes design history, design culture, and design studies. Ultimately, his goal is to develop South Asia’s first postgraduate program in design history and studies. He views his role in two ways: as a design historian in South Asia exploring and constructing scholarly approaches to design history, and as a South Asian scholar in the design history community voicing the potential of decolonized approaches to the field.

Giuliana Vidarte received a BA in Latin American literature and an MA in art history from the Pontificia Universidad Católica del Perú. In 2013 she was part of a curatorial intensive course in Northern Ireland organized by Independent Curators International (New York). In 2014 she received a travel grant to participate in the annual meeting of the International Committee for Museums and Collections of Modern Art (CIMAM) in Qatar. Between 2015–18, she was the curator of Bufeo: Amazonía+Arte, a project for the research and dissemination of Amazonian art. Vidarte has developed exhibition projects about the relationship between visual arts and literature, the rewriting of history based on the recovery of unofficial discourses, and artistic production in the Peruvian Amazon. Currently, she is chief curator and head of exhibitions at the Museo de Arte Contemporáneo in Lima (MAC Lima) and curatorial assistant for the Peruvian pavilion at the 58th Venice Biennale in 2019.

Julia Waite is the curator of New Zealand art at the Auckland Art Gallery Toi o Tāmaki, New Zealand’s largest art museum. She has worked on a number of large-scale exhibitions including the fifth Auckland triennial, If you were to live here . . . (2013) and Space to Dream: Recent Art from South America (2016). Her research interests are focused on the development of modern art in New Zealand and its connections with other peripheral modernisms. In 2015 she curated the exhibition Freedom and Structure: Cubism and New Zealand Art 1930–1960, which toured throughout New Zealand, and published an associated catalogue. She cocurated the major survey of New Zealand’s preeminent abstract painter Gordon Walters: New Vision, which opened at Auckland Art Gallery in 2018. Most recently, Waite has cocurated Louise Henderson: From Life, the first comprehensive retrospective of French-born New Zealand artist Louise Henderson. She has an MA in art history (First Class) and an MA in museum and heritage studies.

Jean-Arsène Yao received a PhD in Latin American history from the Universidad de Alcalá (Spain) in 2002. His scholarship focuses on teaching Spanish in the African Diaspora, particularly with blacks in Argentina. Currently professor of Latin America and Caribbean studies at the Université Félix Houphouët-Boigny (Côte d’Ivoire) and visiting professor at the Universidad de Alcalá and the Universidad de Granada (Spain), his teaching interests include Hispanic American culture and civilization; race, class, and ethnicity in Latin America; and Afro-Hispanic history. He has a special interest in the visual representation of people of African descent in art history and visual studies. Yao has conducted research in Argentina, Colombia, Cuba, Ecuador, and Uruguay. He has published widely, including five books, several book chapters, and over twenty articles in juried journals of research. Since 2016 he has been the founder-coordinator of the Group of Latin American Studies and Research (https://grelat-ufhb.org/).

Participating Alumni

Abiodun Akande is a senior lecturer at the University of Lagos, Nigeria, where he teaches painting, art education, and art history. Akande earned a BA in fine arts from the Obafemi Awolowo University and received an MA and PhD in the visual arts of Africa from the Institute of African Studies, University of Ibadan, Nigeria.  In 2013, he participated in the first Basel Summer School in African Studies at the University of Basel in Switzerland; he also attended a graduate symposium hosted by the School of Arts at Peking University in Beijing, China. Akande first participated in the CAA-Getty International Program in 2016 and returned the following year to participate in the 2017 CAA-Getty reunion program. His current research focuses on knowledge systems in the art and cultural practices of indigenous communities in Nigeria. A recent publication, “Ará òrun kìn-ìn kin-in: Òyó-Yòrùbá egúngún Masquerade in Communion and Maintenance of Ontological Balance,” (Genealogy, 3(1), 7, 2019) explores the Yòrùbá belief in life after death, and how the powers and spirits of the deceased are harnessed for the benefit of the living.

Pedith Chan is an assistant professor of Cultural Management in the Faculty of Arts at the Chinese University of Hong Kong. She received her PhD in Art and Archaeology from SOAS, University of London. Before joining the Chinese University of Hong Kong Chan was an assistant curator at the Hong Kong Museum of Art, and an assistant professor at the City University of Hong Kong. Her research interests focus on the production and consumption of art and cultural heritage in modern and contemporary China. Recent publications include The Making of a Modern Art World: Institutionalization and Legitimization of Guohua in Republican Shanghai (Leiden: Brill, 2017), “Representation of Chinese Civilization: Exhibiting Chinese Art in Republican China,” in The Future of Museum and Gallery Design (London: Routledge, 2018), and “In Search of the Southeast: Tourism, Nationalism, Scenic Landscape in Republican China,” (Twentieth-Century China, 2018). She is currently researching the making of scenic sites in modern China. Chan was a participant in the 2019 CAA-Getty International Program.

Iro Katsaridou has been the curator of modern and contemporary art at the Museum of Byzantine Culture in Thessaloniki, Greece since 2005. 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 focused on contemporary Greek photography (Aristotle University, 2010). For the past six years Katsaridou has been researching photography and art in World War I and II, during which time she has curated exhibitions on the subject and edited related catalogues. For the last four years she has been teaching as an adjunct faculty member at several Greek universities. She has co-edited two books about photography during the Nazi Occupation of Greece (1941-1944) and written articles and book chapters on photography, exhibition display policies, as well as the relationship between contemporary Greek art and politics. In 2019, she participated in the CAA-Getty International Program.

Cristian Nae is an associate professor at the George Enescu National University of Arts in Iași, Romania, where he teaches courses on contemporary art history, critical theory, visual and exhibition studies. He has benefited from scholarships and research grants from the Erste Foundation (Vienna), National Research Council, Romania (CNCS-UEFISCDI) , the CAA-Getty International Program, the Getty Foundation (Los Angeles), and New Europe College (Bucharest). His latest studies have appeared in collective volumes published by Wiley-Blackwell (2019, forthcoming) and Routledge (2018). Nae is the co-editor of Rethinking the Image of the World: Projects and Sketches. Contemporary Romanian Art 2010-2020 (Hatje Cantz, 2019, forthcoming). As a curator, he is the co-organizer of the exhibition Rethinking the Image of the World: Projects and Sketches (Musée Mill, La Louvrière, Belgium, 2019), which was part of the Europalia Arts Festival. Nae also curated Unfinished Conversations on the Weight of Absence, the exhibition marking Romania’s participation in the 58th Venice Biennale (2019). Nae participated in the first year of the CAA-Getty International Program, in 2012.

Nóra Veszprémi is a research associate for the European Research Council-funded project Continuity/Rupture: Art and Architecture in Central Europe 1918–1939 (CRAACE) at Masaryk University, Brno (Czech Republic). She is also an honorary research fellow at the University of Birmingham (UK), where she recently completed a project on museums in Austria-Hungary between 1867 and 1918. In 2014–15 she taught at the Institute of Art History at Eötvös Loránd University, Budapest (Hungary), where she also received her PhD in 2013. Veszprémi specializes in nineteenth- and early-twentieth-century Central European art. A former curator at the Hungarian National Gallery, she is the author of a monograph on romanticism and popular taste in mid-nineteenth century Hungary (in Hungarian) and co-author (with Matthew Rampley and Markian Prokopovych) of two forthcoming volumes on museums in Austria-Hungary: An Empire on Display: The Art Galleries and Museums of Austria-Hungary (Penn State University Press, 2020); and Liberalism, Nationalism and Design Reform in the Habsburg Empire: Museums of Design, Industry and the Applied Arts (Routledge, 2020). She is currently working on a monograph about historical memory in Central Europe after the collapse of the Habsburg Empire. Veszprémi was a 2015 participant in the CAA-Getty International Program.