CAA News Today
Elia Alba and Postcommodity to Participate in Annual Artists’ Interviews at CAA’s 111th Annual Conference
posted by CAA — Jan 19, 2023
CAA is pleased to announce that this year’s Annual Artists’ Interviews will feature Elia Alba and Postcommodity!
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Photo: Michael Palma Mir
Elia Alba was born in Brooklyn to parents who immigrated from the Dominican Republic in the 1950s. She is a multidisciplinary artist whose artistic practice is concerned with the social and political complexity of race, identity, and the collective community. She received her Bachelor of Arts degree from Hunter College in 1994 and completed the Whitney Independent Study Program in 2001. She has exhibited throughout the United States and abroad, including at the Studio Museum in Harlem, El Museo del Barrio, Stedelijk Museum, Amsterdam, Science Museum, London, Smithsonian Museum of Art, National Museum of Art, and Reina Sofía, Madrid. Awards include the Studio Museum in Harlem Artist-in-Residence Program in 1999; Pollock-Krasner Foundation Grant in 2002; Joan Mitchell Foundation Grant in 2002 and 2008; Anonymous Was a Woman Award in 2019; and Latinx Artist Fellowship in 2021. Her work is in the collections of the Smithsonian Museum of Art, El Museo del Barrio, and Lowe Art Museum. Her work has been reviewed in The New York Times, Artforum, ArtNews, and Forbes, among others. Her book, Elia Alba, The Supper Club (2019) brings together artists, scholars, and performers of diasporic cultures through photography, food, and dialogue to examine race and culture in the United States. She was part of the curatorial team for El Museo del Barrio’s critically acclaimed exhibition, Estamos Bien: La Trienal 20/21. She lives and works in the Bronx.
Postcommodity is an interdisciplinary art collective comprised of Cristóbal Martínez (Mestizo), and Kade L. Twist (Cherokee). Postcommodity’s art functions as a shared Indigenous lens and voice to engage the assaultive manifestations of the global market and its supporting institutions, public perceptions, beliefs, and individual actions that comprise the ever-expanding, multinational, multiracial, and multiethnic colonizing force that is defining the twenty-first century through ever-increasing velocities and complex forms of violence. Postcommodity works to forge new metaphors capable of rationalizing our shared experiences within this increasingly challenging contemporary environment; promote a constructive discourse that challenges the social, political, and economic processes that are destabilizing communities and geographies; and connect Indigenous narratives of cultural self-determination with the broader public sphere.
Postcommodity are the recipients of grants from the Joan Mitchell Foundation (2010), Creative Capital (2012), Art Matters (2013), Native Arts and Cultures Foundation (2014), Mid Atlantic Arts Foundation (2017), Ford Foundation Art of Change Fellowship (2017–18), Harker Fund of the San Francisco Foundation (2018–19), Native Arts and Cultures Foundation Shift Award (2021), and Hewlett 50 Arts Commissions (2022). The collective has been exhibited nationally and internationally, including at Contour: 5th Biennial of the Moving Image, Mechelen, Belgium; Nuit Blanche, Toronto; Adelaide International 2012, Adelaide, Australia; 18th Biennale of Sydney, Sydney; Scottsdale Museum of Contemporary Art; 2017 Whitney Biennial; Art in General, New York; documenta 14; 57th Carnegie International, Pittsburgh; Desert X, Coachella Valley, CA; Art Institute of Chicago; LAXART, Los Angeles; Minneapolis Institute of Art; Remai Modern Museum, Saskatoon, Canada. Their historic Land Art installation Repellent Fence occurred at the US/Mexico border near Douglas, Arizona and Agua Prieta, Sonora, Mexico. The collective was awarded the Fine Prize for From Smoke and Tangled Waters, They Carried Fire Home, commissioned for the 57th Carnegie International.
Postcommodity acknowledges the important contributions of its previous collaborators: Steven Yazzie (2007–2010), Nathan Young (2007–2015), Raven Chacon (2009–2018), Adam Ingram-Goble (Game Remains), Andrew McCord (If History Moves at the Speed of Its Weapons, Then the Shape of the Arrow is Changing, and Promoting a More Just, Verdant and Harmonious Resolution), Annabel Wong (Dead River) and Existence AD (Dead River).
CAA’s Annual Artist Interviews will be held on Friday, February 17, 4:30–7 p.m. ET, in Grand Ballroom East.
The 111th CAA Annual Conference will be held February 15–18, 2023 at the New York Hilton Midtown. Register now!
Emerging Professional Director Candidate: Lauren Van Nest
posted by CAA — Dec 22, 2022
Statement
My name is Lauren Van Nest and I am a doctoral candidate at the University of Virginia (UVA) studying the art and architecture of medieval Europe. My dissertation examines the relationships crafted between objects of imperial patronage in the Ottonian Empire, their ritual environments, and the bodies of their patrons. I research the ways in which artistic materials—their form, aesthetics, symbolism—transmit concepts of divinity and power across media and iconographies. My work has been supported by a twelve-month fellowship from the Deutscher Akademischer Austauschdienst (German Academic Exchange Service) in affiliation with the Georg-August-Universität Göttingen in Göttingen, Germany. Additionally, I have been awarded research grants by the Virginia Museum of Fine Arts (VMFA), Center for Global Inquiry + Innovation, and UVA Graduate School of Arts & Sciences. I received my undergraduate degree from the University of North Carolina-Chapel Hill (B.A.) and a graduate degree from the University of Toronto (M.A.).
I would define my duty as a College Art Association (CAA) board member as a commitment to service towards the community via cultivation and advocacy. I am passionate about developing and promoting programming that creatively adapts to the pressures facing the visual arts today and continues to make the arts more accessible to wider audiences. As the Emerging Professional Director on the Board of Directors, I would bring my own enthusiasm for the visual arts alongside my skills in project management, communicating complex ideas, and collaboration. As an organization drawing together diverse and vibrant professionals, CAA is uniquely positioned to advocate for the value of the arts nationally and internationally. During my term, I will develop robust advocacy strategies that not only promote continued federal and public funding of the arts, but also attend to the needs of CAA members through grants and workshops. I envision CAA as a partner to its individual members, navigating the various obstacles facing aspiring as well as established visual arts professionals.
I have served in international organizations during my graduate career, including the Medieval Academy of America (MAA) and the International Center of Medieval Art (ICMA). It is in these roles that I have coordinated mentorship programming, produced podcasts, and organized roundtables on topics related to graduate and early career professionalization. I am also committed to engaging with digital humanities projects that analyze and document the history of academic institutions, namely universities (Land and Legacy) and organizations (ICMA Oral History Project). With CAA, I am able to harness my previous and future interests to contribute to the goals of the organization.
Now Accepting Applications for the Art History Fund for Travel To Special Exhibitions
posted by CAA — Dec 06, 2022
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Students from Rachel Stephens’ seminar on American portraiture at the University of Alabama visiting the Birmingham Museum of Art to view the exhibition, “Black Out: Silhouettes Then and Now” in 2019.
In fall 2018, we announced CAA had received an anonymous gift of $1 million to fund travel for art history faculty and their students to special exhibitions related to their classwork. The generous gift established the Art History Fund for Travel to Special Exhibitions. We are happy to accept new applications again for this upcoming year.
The fund is designed to award up to $10,000 to qualifying undergraduate and graduate art history classes to cover students’ and instructors’ costs (travel, accommodations, and admissions fees) associated with attending museum special exhibitions throughout the United States and worldwide. The purpose of the grants is to enhance students’ first-hand knowledge of original works of art. Interested members can also see recent awardees share their experiences at the session at the CAA Annual Conference at the session Art History Fund for Travel to Special Exhibitions: Sharing Stories.
Applications are due by January 15, 2023.
Meet the 2022 Wyeth Award Winners
posted by CAA — Nov 30, 2022
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Anton Refregier, History of San Francisco, 1941-1948, mural, panel 2: “Indians by the Golden Gate,” Rincon Center, San Francisco, California, public domain
Since 2005, the Wyeth Foundation for American Art has supported the publication of books on American art through the Wyeth Foundation for American Art Publication Grant, administered by CAA. The 2022 grantees are:
- Siobhan Angus, Camera Geologica: Temporality, Materiality, and Mining in Climate Breakdown, Duke University Press
- Julia Bailey, Painting and Paranoia: The Specter of Communist Art in Cold War USA, University of Illinois Press
- Janet Berlo, Not Native American Art? Fakes, Replicas, and Invented Traditions, University of Washington Press
- Stephanie Buhmann, Frederick Kiesler: Galaxies, The Green Box, Berlin
- Colby Chamberlain, Fluxus Administration: George Maciunas and the Art of Paperwork, University of Chicago Press
- Jessica L. Horton, Earth Diplomacy: Indigenous American Art and Reciprocity, 1953–1973, Duke University Press
- Darren Newbury, American Perspectives in Africa: Photographic Diplomacy and the Cold War Imagination, Penn State University Press
- Louise Siddons, Good Pictures Are a Strong Weapon: Laura Gilpin and Navajo Sovereignty, University of Minnesota Press
The list of all recipients of the Wyeth Foundation for American Art Publication Grant from 2005 to the present can be found here.
Meet the 2023 CAA-Getty International Program Participants
posted by CAA — Nov 29, 2022
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.
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.
Meet the Fall 2022 Millard Meiss Publication Fund Grant Recipients
posted by CAA — Nov 28, 2022
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George Stubbs, A Lion Attacking a Horse, Oil on canvas, 1762, Yale Center for British Art, Paul Mellon Collection
MEET THE GRANTEES
Twice a year, CAA awards grants through the Millard Meiss Publication Fund to support book-length scholarly manuscripts in the history of art, visual studies, and related subjects that have been accepted by a publisher on their merits, but cannot be published in the most desirable form without a subsidy.
Thanks to the generous bequest of the late Prof. Millard Meiss, CAA began awarding these publishing grants in 1975.
FALL 2022 GRANTEES
Paloma Checa-Gismero, The Early Biennial Boom and the Making of Global Contemporary Art, Duke University Press
Denva Gallant, Illustrating the Vitae patrum: The Rise of the Eremitic Ideal in Fourteenth Century Italy, Penn State University Press
Katie Hornstein, Myth and Menagerie: Seeing Lions in Nineteenth-Century France, Yale University Press
Sujatha Meegama, Temples to the Buddha and the Gods: The Transnational Drāviḍa Tradition of Architecture in Sri Lanka, University of Hawaii Press
Morgan Ng, The Stratified City: Military Architecture and Urban Experience in Renaissance Italy, Yale University Press
Naomi Pitamber, Byzantium and Landscapes of Loss: The Recreation of Constantinople in the Laskarid and Palaiologan Eras, Cambridge University Press
Global Conversations: Materiality and Mediation
posted by CAA — Sep 27, 2022
We are excited to introduce the presenters for the virtual symposium, Global Conversations: Materiality and Mediation, on October 4, 2022 from 11 am to 1 pm Eastern time. The event is organized by the College Art Association (CAA) and two of its international affiliated societies, the Design History Society and the International Association of Word and Image Studies. To register for the event, visit this page.
This global collaborative project brings together three intersecting constituencies—art and design, design history, word, and image studies—to examine how materiality and mediation intersect.
Four participating scholars will present on the following topics, followed by Q&A and discussion. The event will be recorded and shared online following the event.
This no-cost event is open to the public. Please consider donating to support no-cost programming and providing access to new and emerging scholarship.
CAA’s membership program connects you to the largest community of individuals and organizations working together and advocating to advance research, practice, and the impact of the visual arts. Visit our website for more information and to join our organization.
Questions? Email info@collegeart.org.
Interested in becoming an affiliate?
Arts organizations interested in joining CAA as an affiliated society can do so by visiting our website.
To join the Design History Society, please visit this page.
To join the International Association of Word and Image Studies, please visit this page.
Global Conversations: Materiality and Mediation
Presentations and Panelists
“Tavolino di gioie”: The Mediation of Material Techniques in Late Cinquecento Hardstone Inlaid Tables – Wenyi Qian, Ph.D. Candidate in Art History, University of Toronto, Toronto
Wenyi Qian is a Ph.D. candidate in early modern Italian art, with a focus on the relationship between artistic practice and knowledge culture of the period. Her dissertation examines the production of hardstone inlaid tables in late Cinquecento and Seicento Italy at the nexus of early modern craft knowledge, natural sciences, and courtly life and consumption. It aims to track technical crossovers between disparate artistic media and scales in the making of this genre of domestic furniture. She holds a BA in History of Art with Material Studies and an MA in History of Art from University College London. Prior to her doctoral research, she interned at the Museum of Fine Arts, Houston, and worked as a convenor of academic programs at OCAT Institute, Beijing. This latter experience led to her interest in the historical formation of the discipline in Europe, as well as transnational intellectual exchange around the ideas of the arts and humanities across Europe, America, and East Asia over the last century. In addition to academic research, her translation of Victor I. Stoichita’s L’Instauration du tableau: métapeinture à l’aube des temps modernes is forthcoming by the end of 2022.
Mediating the Meaning of Textiles through Exhibition Displays in Israel, 1950s-1970s – Noga Bernstein, Marie-Sklodowska Curie Visiting Researcher, Hebrew University of Jerusalem
Noga Bernstein is an art and design historian, specializing in modern craft in the United States and Israel, with a particular focus on textiles. She is currently a visiting researcher at the Hebrew University in Jerusalem. Her current research project, funded by a Marie Sklodowska-Curie Fellowship, investigates the history of textile art and design in Israel between the 1940s-1990s. She also works on a book manuscript on the US-textile design Ruth Reeves. Dr. Bernstein is a recipient of grants from the Smithsonian Institution, the American Council of American Art and the Center for Craft. She completed her PhD in art history at Stony Brook University in 2019.
Made in Japan: Development of the Poster Medium in Japanese Commercial Art and Design – Nozomi Naoi, Associate Professor of Humanities, Yale-NUS College, Singapore
Erin Schoneveld, Associate Professor of East Asian Languages and Cultures and Director of Visual Studies, Haverford College, Haverford, Pennsylvania
Nozomi Naoi is Associate Professor of Humanities at Yale-NUS College with joint appointment at the Department of Japanese Studies, Faculty of Arts and Social Sciences at the National University of Singapore. She specializes in modern Japanese art and the media environment and is the author of Yumeji Modern: Designing the Everyday in Twentieth-Century Japan (University of Washington Press, 2020; awarded the Honorable Mention for the John Whitney Hall Prize 2022). Her current project focuses on Japanese poster design and the role of department stores, designers, and global modernism during the early twentieth century and she is currently preparing her second book manuscript titled: Modern Design and the Japanese Department Store: Visualizing the New Lifestyle. She is also co-curating an exhibition on postwar Japanese posters at the Poster House Museum in New York, opening in March 2023.
Erin Schoneveld is Associate Professor of East Asian Languages and Cultures; and Associate Professor and Director of Visual Studies at Haverford College. Schoneveld’s scholarship and teaching engages with modern and contemporary Japanese art, cinema, and visual culture. Her book Shirakaba and Japanese Modernism: Art Magazines, Artistic Collectives, and the Early Avant-garde (Brill 2019) provides a critical framework for understanding the tensions between the local and the universal that accompanied the global development of modernism. Schoneveld’s current book project Naomi Kawase and the Future of Japanese Cinema examines the role of Japanese women directors within national and world cinema cultures by evaluating Kawase’s auteur status at the intersection of film history, reception theory, gender, and identity. Schoneveld is also co-curating an exhibition on twentieth century Japanese poster art and design at the Poster House Museum in New York, opening in March 2023.
Mine Craft: Design Histories of Mining – Ellen Huang, Associate Professor of Art and Design History, ArtCenter College of Design, Pasadena, California
Arden Stern, Assistant Professor of Humanities and Sciences, ArtCenter College of Design, Pasadena, CA
Ellen Huang, Ph.D. is a historian of material culture, art, and technology at ArtCenter College of Design (Pasadena, CA, USA). In addition to teaching and research, Huang is also a curator, having organized exhibitions through universities such as the Ackland Museum of Art (UNC Chapel Hill), University of San Francisco and the Cantor Arts Center at Stanford University, as well as for civic museums. Huang is finishing a manuscript about Jingdezhen porcelain as material design in late-imperial Chinese and global history. Huang has contributed to publications for museums, journalistic forums, and academic journals, including Archives of Asian Art, Journal of World History, Art&Object, Jewels in Buddhist Imaginaries (University of Hawai’i Press), the National Museum of Korea Research Series, and Oxford Bibliographies.
Arden Stern, Ph.D. is a design historian whose scholarship focuses on the intersecting histories of US labor, graphic design, and visual culture. They are currently an Assistant Professor of Humanities & Sciences at ArtCenter College of Design (Pasadena, CA, USA), also teaching in the Media Design Practices program, and have served as Visiting Faculty in the Department of Anthropology at Wayne State University. They have contributed to various scholarly and journalistic publications, including the Design & Culture journal, Design Issues, and Print magazine, and are currently working on a manuscript that analyzes labor and class histories of graphic design in the United States from the late nineteenth century through the present.
CAA-Getty International Program 2023: Applications now open!
posted by CAA — Jul 06, 2022
The Getty Foundation has awarded the College Art Association (CAA) a grant to fund the CAA-Getty International Program for a twelfth consecutive year. The Foundation’s support will enable CAA to bring twelve international visual-arts professionals to the 111th Annual Conference, taking place New York, NY, February 15–18, 2023. These individuals will be first-time participants in the program and will be accompanied by alumni of the program returning to present papers during the conference.
Participants will receive funds for travel expenses, hotel accommodations, per diems, conference registrations, and one-year CAA memberships. We encourage all international art historians, art history educators, and museum curators to apply. The program will also include a one-day preconference colloquium on international issues in art history on Tuesday, February 14, as well as ongoing engagement with other alumni from the program online and at future conferences. The deadline for applications is August 15, 2022. Guidelines and application can be found here.
Last year, CAA organized a publication to celebrate ten successful years of the CAA-Getty International Program. The publication, entitled Global Conversations: 10 Years of the CAA-Getty International Program features in-depth accounts of the program, a timeline of important events and milestones, and directories of past papers, members, and meetings.
The CAA-Getty International Program was established to increase international participation in CAA and the CAA Annual Conference. The program fosters collaborations between North American art historians, artists, and curators and their international colleagues and introduces visual arts professionals to the unique environments and contexts of practices in different countries.
Since it began in 2012, the program has brought 147 scholars to the conferences, from over 50 countries located in Central and Eastern Europe, Asia, Southeast Asia, Africa, the Caribbean, and Central and South America. Each year, a preconference colloquium on international topics in art history inaugurates the week, kicking off four days of conference sessions, meetings with new colleagues, and visits to museums and galleries. Subsequent to these events, the program has generated many scholarly collaborations, including publications, conferences, and exhibitions.
Most of all, former grant recipients have become ambassadors of CAA in their countries, sharing knowledge gained at the Annual Conference with their colleagues at home. Past recipients have said that “variety of topics presented also exposed me to the realization that there is so much to be done to unearth the hidden treasures of global art history, which hitherto I have overlooked in my discipline and nation but which will now form the basis of my future projects,” and “the direct contact with other global south researchers is an unique occasion, rarely possible and extremely enriching.”
Meet the Inaugural CAA-GOLDEN Scholarship Recipients
posted by CAA — Jun 28, 2022
The CAA-GOLDEN Scholarship Program supports artists whose mission it is to give back to their communities through teaching, while nurturing and developing their own talents and capabilities as artists. Funded by Golden Artist Colors, Inc., CAA grants two unrestricted scholarships of $8,000 each on an annual basis to artists with an MFA who are pursuing a career in K-12 education. Grantees will also receive two weeks at the Sam and Adele Golden Foundation Residency Program, $1000 towards GOLDEN products, registration to the 2023 CAA Annual Conference, and one year of CAA membership.
MEET THE GRANTEES
Mick Bodnar
Having grown up between two dairy farms in rural New York State, Mick Bodnar is something of an anomaly in the art world. He has over two decades of experience as a working-class graphic designer. After being displaced from that career, he embarked on a formal education. His collegiate career began at SUNY Broome Community College, where he gained an AS in Visual Communication Arts, and received the BCC Foundation Scholarship for Excellence in Liberal Arts, the Robert R. Cotten II Award in Graphic & Editorial Design, plus the SUNY Broome Second Chance Scholar Award. With those achievements, he was offered a generous scholarship to attend an elite private college. From that institution, Bard College, he earned a BA in Studio Arts, the Studio Arts Award, and the Bard Center for the Study of Hate Fellowship Award. In 2022, he gained an MFA in Painting & Drawing from SUNY New Paltz, as well as the Outstanding Graduate Award in Studio Arts and the Sojourner Truth Fellowship Award. In 2022, he plans to pursue a master’s degree in Art Education from Adelphi University.
Mick is proud that his work to date has been well-received equally by the layman as well as by academics. He believes that art is the purest form of communication between humans, crossing the barriers of time, culture, and language — and that everyone should have access to it, regardless of background. He is committed to making art available to the general population.
Beth Reitmeyer
Beth Reitmeyer. Photo by Krystal Henriquez / Assets for Artists.
Beth Reitmeyer is a visual artist based in Nashville, TN who likes to make people happy with her colorful installations. Her work investigates landscapes and the joy of unexpected yet beautiful spaces and places that are discovered as one explores the land and structures within it: clouds, rivers, caves, geodes, stars. These environments allow viewers to explore the land and get to know one another in a more profound way, providing space for renewal and hope for persevering.
Beth was born in Colorado Springs, CO and raised in Louisville, KY. She attended Northwestern University (MFA), The School of the Art Institute (Post Baccalaureate program), and the Pennsylvania State University (BFA). In the fall of 2022, she will be pursuing a Master’s in Education/Teaching at Western Kentucky University or Lipscomb University.
Beth teaches with the Frist Art Museum, Western Kentucky University, Cheekwood Estates and Gardens, and Nashville School of The Arts.
Beth’s work has been exhibited at the Frist Art Museum, Nashville; Elizabeth Foundation for the Arts, New York; OZ Arts, Nashville; 1708 Gallery/Virginia Museum of Fine Arts, Richmond, VA; FIGMENT, Chicago; The Downing Museum, Bowling Green, KY; Kindling Arts Festival, Nashville; Zg Gallery, Chicago; Ground Floor Gallery, Brooklyn, NY; Institute of Contemporary Arts, London. Beth has been an artist-in-residence at The Studios at MASS MoCA, ChaNorth/ChaShaMa Foundation, The Ragdale Foundation, CONVERGE, and Mineral House Media. Recent awards include grants from the Metro Nashville Arts Commission/National Endowment for the Arts and a finalist for a Burning Man grant.
Meet the Spring 2022 Millard Meiss Publication Fund Grant Recipients
posted by CAA — May 25, 2022
![](http://www.collegeart.org/news/wp-content//Screen-Shot-2022-05-11-at-5.13.09-PM-224x300.png)
Depiction of eryngoes, De materia medica, MS M 652, f. 57r., The Morgan Library & Museum (relates to Griebeler, Botanical Icons: Critical Practices of Illustration in the Premodern Mediterranean)
MEET THE GRANTEES
Twice a year, CAA awards grants through the Millard Meiss Publication Fund to support book-length scholarly manuscripts in the history of art, visual studies, and related subjects that have been accepted by a publisher on their merits, but cannot be published in the most desirable form without a subsidy.
Thanks to the generous bequest of the late Prof. Millard Meiss, CAA began awarding these publishing grants in 1975.
SPRING 2022 GRANTEES
Claudia Calirman, Dissident Bodies: Brazilian Women Artists, (1960s-2020s), Duke University Press
Karen Mary Davalos and Tatiana Reinoza, Self Help Graphics at Fifty: A Cornerstone of Latinx Art and Collaborative Artmaking, University of California Press
Andrew Griebeler, Botanical Icons: Critical Practices of Illustration in the Premodern Mediterranean, University of Chicago Press
Joan Kee, The Geometries of Afro Asia: Art beyond Solidarity, University of California Press
Miriam Kienle, Queer Connections: Ray Johnson’s Correspondence Art Network, University of Minnesota Press
Murad Mumtaz, Faces of God: Images of Muslim Devotion in Indian Painting, Brill