CAA News Today

Affiliated Society News shares the new and exciting things CAA’s affiliated organizations are working on including activities, awards, publications, conferences, and exhibitions.

Interested in becoming an Affiliated Society? Learn more here.

Association of Print Scholars

Mari Carmen Ramírez, Wortham Curator of Latin American Art & Director of the International Center for the Arts of the Americas at the Museum of Fine Arts, Houston, delivered the Fifth Annual APS Distinguished Scholar Lecture in New York City on January 24, 2020. Her lecture, “Marks, Materials, and Matrices: Experimental Printmaking and Drawing Practices in Latin America,” is now online at our event archive.

At the 2020 CAA Annual Conference in Chicago, APS sponsored the panel, “Registering the Matrix: Printing Matrices as Sites of Artistic Mediation.” Organized by Jun Nakamura of the University of Michigan, the panel featured four presentations: Jesse Feiman’s paper on “The Triumphal Arch of Maximilian I,”; Laurel Garber on artistic interventions and inventions on printing matrices in nineteenth-century France; Elissa Watters on Manet’s etching “The Absinthe Drinker,”; and Rachel Vogel on conceptual printmaking at NSCAD.

APS is now accepting applications for the APS Publication Grant, which supports the publication of innovative scholarly research about printmaking across all time periods and geographic regions. The grant carries a maximum award of $2,000 and is funded through the Association of Print Scholars and the generosity of C.G. Boerner and Harris Schrank. Applications are due August 31, 2020 and further details can be found here.

AMCA (Association for Modern and Contemporary Art of the Arab World, Iran, and Turkey)

2020 Rhonda A. Saad Prize for Best Paper in Modern and Contemporary Arab Art

The 2020 Rhonda A. Saad Prize for Best Paper in Modern and Contemporary Arab Art was awarded to Maryam Athari for her paper “Diagnostic Revelation: Rifat Chadirji’s Street Photography.” Maryam is a PhD Candidate in Art History at Northwestern University. The Rhonda A. Saad Prize review committee found that Maryam’s paper ““Diagnostic Revelation” offers an insightful account of Rifat Chadirji’s entwined photographic and architectural practices that is theoretically, historically, and formally grounded. Connecting Chadirji’s photographs to contemporary image practices by Iraqi and European-trained architects, her paper carefully articulates that these photographs “investigate challenges faced by architectural modernism in Iraq and its relation to everyday people.”

Established in 2010 in honor of our dear and respected colleague and friend, The Rhonda A. Saad Prize aims to recognize and promote excellence in the field of modern and contemporary Arab art. The award is offered to a graduate student or recent post-doctoral scholar working in any discipline whose paper is judged to provide the most significant contribution to the disciplines of Art History and Middle East Studies. For more information, submission guidelines, and interviews with previous winners, please visit www.amcainternational.org.

AMCA, in collaboration with the University of North Texas, receives grant from the Getty Foundation

This project is made possible with support from the Getty Foundation through its Connecting Art Histories initiative.

AMCA is happy to announce receiving funding from the Getty Foundation, as part of its Connecting Art Histories initiative, to support “Mapping Art Histories in the Arab World, Iran and Turkey.” The project team, led by Nada Shabout, Sarah Rogers, Pamela Karimi, Jessica Gerschultz, Anneka Lenssen, Sarah-Neel Smith, Dina Ramadan, and Tiffany Floyd, will undertake extensive research on courses, programs, and alternative educational platforms and initiatives in the fields of art history, architectural studies, and archaeology throughout the region. With increasing interest in the modern and contemporary arts of the Arab world, Iran, and Turkey, the need for the field’s historiography has become vital. A publication and interactive map are planned.

Society of Architectural Historians 

The Society of Architectural Historians has launched three surveys to collect information from academics for its two-year study on the status of the field of architectural history in higher education in the United States, the SAH Data Project. The surveys are intended for chairs and administrators, faculty, and students and represent the most public phase of the project’s data collection to date. The aim of the SAH Data Project is to determine where and in what ways the field of architectural history is expanding, receding, or holding steady, and to consider the structural or cultural factors behind such trends. 

The SAH Data Project team is using these surveys to gather some of the necessary quantitative data such as course enrollments over time, tenure-stream versus contingent faculty, faculty and student demographics. The surveys also collect crucial qualitative data about aspects of the field that may have long-lasting impacts, such as the effect of the 2008 economic downturn on architectural history programs and the extent to which students have demonstrated interest in themes related to social justice or the climate crisis. 

The three surveys for academics will remain open through May 15, 2020. SAH will invite architectural historians working outside the academy to share their perspectives and contribute to the project later this spring. This includes architectural historians employed by government agencies, nonprofit organizations, museums, design education organizations, preservation organizations and architectural publications, to name a few. 

In addition to online surveying, the project methodology also encompasses a variety of other kinds of quantitative and qualitative data-gathering tasks such as conducting in-depth group conversations with project constituents and analyzing existing publication lists for thematic trends over time. 

More information and links to the surveys are available at sah.org/data-project.

The Renaissance Society of America

RSA 2020 Philadelphia

More than 2,200 scholars from across the country and the globe will be coming to Philadelphia in April for the largest international conference devoted to the study of the era 1300–1700. Join the Renaissance Society of America for one or for several of the more than 570 sessions taking place April 2–4, 2020. Sessions include:

“New Perspectives on Italian Art” – click here for details

“Reconsidering Raphael” – click here for details

Roundtable:  “The Global Turn in Art History: Where Next” – click here for details

“Computer Vision and the Period Eye: Methodological Challenges for Computing Art” – click here for details

“Expanding the Canon: New Research of Artemisia, Marietta Tintoretto, Sofanisba, and Lavinia Fontana” – click here for details

“Placemaking and the Domestic Interior in Early Modern Europe” – click here for details 

You can view the full program here.

Day passes are available. You can order a day pass here to reserve a spot at the conference.

Attendees will be coming to RSA 2020 Philadelphia from Europe, Asia, Africa, South America, and across Canada and the United States—and we hope you will join us too. Please email rsa@rsa.org with any questions.

Visual Resources Association News

The next VRA international conference for image media professionals will take place at the Royal Sonesta Harbor Court Hotel in Baltimore from March 24-27, 2019. We welcome CAA members as well as any intensive image users and like-minded information professionals to join in on what is an exciting schedule of workshops, sessions, meetings, tours, and social events in Maryland.

The Visual Resources Association is a multidisciplinary organization dedicated to furthering research and education in the field of image management within the educational, cultural heritage, and commercial environments that has been affiliated with CAA for many years (http://vraweb.org/).

In addition, the VRA Foundation (VRAF) continues to sponsor the Summer Educational Institute for Digital Stewardship of Visual Information (SEI), which is a joint project with the Art Libraries Society of North America (ARLIS/NA). This year it will take place from June 23-26 at Northwestern University in Evanston, IL. Beginning with the first institute held at Duke University in 2004, the goals for SEI have remained constant; to provide information professionals with a substantive educational and professional development opportunity focused on digital imaging, the information and experience needed to stay current in a rapidly changing field, and the opportunity to create a network of supportive colleagues. Nearly 400 visual resources professionals, librarians, museum professionals, graduate students, and individuals from an ever-widening number of fields have attended SEI and we welcome CAA members. For more information, see https://vrafoundation.org/summer-educational-institute/ and if you have any additional questions, please contact SEI Co-Chairs Courtney Baron or Bridget Madden.

For more information about the important work and professional development activities sponsored by the Visual Resources Association or the VRA Foundation, please contact Maureen Burns, VRA’s CAA Affiliate Representative at moaburns@gmail.com or 310-489-3792.

Historians of German, Scandinavian, and Central European Art & Architecture (HGSCEA)

As always, the annual conference was a busy and exciting time for HGSCEA.

Jordan Troeller and Hyewon Yoon chaired HGSCEA’s sponsored session, “A Foreign Eye: Photography, Women, and Global Encounters in the Twentieth Century,” which was very well attended, It offered excellent papers by Kim Felt, Alyssa Bralower, Kim Sichel, and Elisaveta Dvorakk on the complex and often fraught positions occupied by German, Swiss, and French women who worked as photographers in Japan, Palestine, Africa, and Afghanistan from the 1920s to the 1940s.

Directly after the session, newly elected members of the Board – Nina Amstutz (at large), Jenny Anger (Secretary), Thor Mednick (at large), and Nick Sawicki (at large) – met with continuing and outgoing members at the annual business meeting to discuss officers’ reports and proposals for the 2021 sponsored session. Morgan Ridler (Web Manager), Jeffrey Saletnik (at large), Adrian Sudhalter (Treasurer), and James van Dyke (President) will continue on the Board, while Kathleen Chapman, Karla Huebner, Juliet Koss, and Marsha Morton are moving on.

About thirty members gathered at Bistronomic for the annual members’ dinner. There, the results of the 2019 Emerging Scholars Publication Prize were announced. Honorable mentions went to Hannah Shaw for “The Trouble with the Censorship of August Sander’s Antlitz der Zeit” (PhotoResearcher) and to Kristin Schroeder for “A New Objectivity: Fashionable Surfaces in Lotte Laserstein’s New Woman Pictures” (The Art Bulletin). The winner was Aaron Hyman’s “The Habsburg Re-Making of the East at Schloss Schönbrunn, ‘or Things Equally Absurd’” (The Art Bulletin).

Finally, several members gathered at the Art Institute for a special HGSCEA event organized by Jay Clarke, Curator in the Department of Prints and Drawings. They had the opportunity to look closely at a large selection of works on paper ranging from Dürer and Hollar, through Kollwitz and Munch, to Kiefer and Trockel.

Public Art Dialogue (PAD)

Public Art Dialogue (PAD) is now accepting nominations for the 2021 PAD Award for achievement in public art. Past recipients include Michael Rakowitz, fierce pussy, and Judy Baca. Deadline is March 20, 2020. PAD is also soliciting submissions for its session during the 109th CAA Conference in New York. Abstracts of no more than 250 words are due April 1, 2020. Membership in Public Art Dialogue is required for all nominations and submissions, which may be sent to publicartdialogue@gmail.com. To join PAD, visit http://www.publicartdialogue.org/join.

Women’s Caucus for Art

Women’s Caucus for Art: Celebrating Achievements

The Women’s Caucus for Art hosted their annual conference concurrently with College Art Association national conference in Chicago, February 12-16, 2020. Under the conference theme of “Intersectionality,” WCA found many ways to celebrate the achievements of its members. WCA members exhibited work in two shows in Chicago during the conference – the national juried exhibition, Collectively Shifting, at Bridgeport Arts Center, and the Young Women’s Caucus exhibition, Intersectional History, at Woman Made Gallery. The Northern California chapter of WCA hosted an excellent panel discussion on “Amplifying Inclusion: Intersectional Feminism in Contemporary Curatorial Practice,” focused specifically on their F213 exhibition. WCA/CAA Liaison Rachel Epp Buller, along with SCWCA past president Niku Kashef, participated in several events celebrating the new co-edited book, Inappropriate Bodies: Art, Design, and Maternity. And the celebratory capstone event of the conference was the Lifetime Achievement Awards, presented in 2020 to Joyce Fernandes, Michiko Itatani, Judy Onofrio, Alison Saar, and Judith Stein, along with the President’s Awardee for Art and Activism, Rose Simpson.

SECAC

SECAC 2020 – Richmond,Virginia

Virginia Commonwealth University School of the Arts is honored to host the 76th annual meeting of SECAC in Richmond, VA from October 21-24, 2020. As its theme, the conference will engage the concept of commonwealth as an ideal of common good that pervades the political landscape of arts and educational institutions. We will question the complexities of a commonwealth, both in its original utopian form and its attendant failings as a colonial structure. With its rich history and diverse arts community, the city of Richmond will serve as an excellent setting to explore the 2020 conference theme through panel and round-table sessions, special events and exhibitions, and countless opportunities for individual exploration.  We are planning for over 130 individual sessions at the 2020 conference, all to take place at the conference hotel, the Richmond Marriott Downtown (500 East Broad Street). Additionally, we have planned exciting programming for conference participants, including:

• Keynote lecture by Valerie Cassel Oliver, Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts
• Juried Members’ Exhibition at The Anderson (VCUarts campus), with prizes awarded by guest juror, Dr. Sarah Eckhardt, Associate Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts
• 2019 SECAC Artist’s Fellowship Exhibition at the VCUarts Fine Arts Building gallery, and opportunity for open studio visits
• Excursions to the Virginia Museum of Fine Arts, VCU’s Institute of Contemporary Art, and the Hartnett Museum of Art at the University of Richmond

Call for Papers: February 10 – April 1, 2020

Juried Exhibition Entries: February 18 – April 15, 2020 

Early conference registration will open on August 4, 2020. Visit https://secacart.org/page/Richmond for registration rates and additional conference-related information.

Contact: secac2020@vcu.edu

Historians of Netherlandish Art

ARIAH (Association of Research Institutes in Art History) has awarded funds to the Journal of Historians of Netherlandish Art (jhna.org) for the development of hotspots in images for the lead article in the Summer 2019 issue (JHNA v. 11:2).  This is E. Melanie Gifford’s “The Fall of Phaeton in the Evolution of Peter Paul Rubens.”  Jennifer Henel will become the digital art history developer of the hotspots, along with Morgan Schwartz.  The Summer 2019 issue was funded by the Samuel H. Kress Foundation.

HNA is soliciting proposals for a session topic for CAA 2021 in New York, which will be held February 10-13^th at the Hilton.   Our deadline for proposals will be Tuesday, April 14^th, with a decision to be made shortly thereafter.  Session proposals for HNA sponsorship should appeal broadly to our membership, and should focus primarily (but not necessarily exclusively) on art and architecture of the Netherlands from approximately 1350 to 1750.  Chair(s) should be members of the HNA, and all speakers eventually selected are encouraged to be members as well.  Session proposals should include a title and summary of the topic (a maximum of 400 words), and cv of the chair(s).  Please submit your proposal to Louisa Wood Ruby, HNA Vice President, by April 14^th via email: woodruby@frick.org.

Association for Textual Scholarship of Art History (ATSAH)

ATSAH Recent Publications 

Andrzej Piotrowski, Professor, University of Minnesota, School of Architecture

The Routledge Handbook on the Reception of Classical Architecture, eds. Nicholas Temple, Andrzej Piotrowski, Juan Heredia (Abingdon & New York: Routledge, 2020).

Lindsay Alberts, Independent Scholar

Art Inquiries, Vol. 17, Number 4 (2019), covering Yale University Art Gallery’s exhibition “Leonardo: Discoveries in Verrocchio’s Workshop”

Sandra Cheng, Associate Professor of Art History, New York City College of Technolgy, CUNY

Sandra Cheng, “Ridiculous Portraits: Comic Ugliness and Early Modern Caricature” in Rire en images à la Renaissance, ed. by Francesca Alberti and Diane Bodart, 117-126. Turnhout: Brepols, 2018.

Eliana Carrara, Associate Professor of Art History, Università di Genova, Italy

1. CARRARA E. (2019), Fonti storico-artistiche prevasariane sulla ‘Sala grande’, in ITALIANISTICA, XLVIII/1, 2019, pp. 107-123;

1. CARRARA E. (2019), Il tema del Paragone delle Arti da Leonardo a Benedetto Varchi, in Nodi, vincoli e groppi leonardeschi. Études sur Léonard de Vinci. Sous la direction de Frédérique Dubard de Gaillarbois & Olivier Chiquet, Paris, Spartacus-idh, 2019, pp. 241-256;

1. CARRARA E. (2019), Biografi e biografie di Leonardo fra Rinascimento e prima età moderna (XVI-XVIII secolo), in Leonardo da Vinci. Disegnare il future, catalogo della mostra a cura di Enrica Pagella, Francesco Paolo di Teodoro, Paola Salvi, Cinisello Balsamo (MI), Silvana Editoriale, 2019, pp. 157-181;

1. CARRARA E. (2019), La correspondance de Giorgio Vasari: un exemplum du nouveau statut de l’«artefice», à la croisée de l’art et de la littérature, In Relier, délier les langues Formes et dés linguistiques de l’écriture épistolaire (Moyen Âge – première modernité), éds. C. Panzera et alii, Paris, Editions Hermann, 2019, pp. 179-204;

Lynette M.F. Bosch,  Professor of Art History and Distinguished Professor at SUNY, Geneseo

2020 – Mannerism, Spirituality and Cognition: The Art of Enargeia, Routledge Press

2019 - Demi, Skira Press.

2019 – “The Cuban-American Exile Vanguardia: Towards a Theory of Collecting Cuban-American Art,” Picturing Cuba: Art, Culture and Identity on the Island and the Diaspora, University of Florida Press.

Liana De Girolami Cheney, President of ATSAH. Professor of Art History (emerita) UMASS Lowell

2020 editor, Readings in Italian Mannerism II: Architecture. Peter Lang

2020, “Lavinia Fontana’s Galatea: Personification of  Fortune and Venus”

The Journal of Literature and Art Studies vol. 10. no. 1 (January 2020): 42-59.

2019. “Giorgio Vasari’s Mercury: God of Magic and Wisdom,” Journal of Cultural and Religious Studies,Vol. 7, No. 10 (October 2019): 511-50.

CWA Picks for CAA 2020

posted by CAA — Feb 05, 2020

In lieu of the Committee on Women in the Arts’ monthly write ups on select exhibitions, programs and scholarship that explore gender issues, feminist practices and the work of women artists from around the world and the United States, this month’s picks will focus on local highlights during the 2020 Annual Conference in Chicago.

Among them we would like to highlight the performance program curated by Out of Site Chicago for CWA’s Reception at HAUS and the Hokin Gallery, Columbia College Chicago during CAA 2020 on Thursday February 13. For more information and to RSVP, click here.

The evening celebrates the centennial of US women’s suffrage and the 50%  women-centered content of this year’s conference, marking this monumental occasion while also acknowledging the discriminatory practices that limited voting rights for indigenous women and women of color, even after the passage of the 19th amendment. Seeking to extend conversations on gender, race, class and equality from a local and transnational perspective in light of the fraught history of inclusion in the US and this CWA-spearheaded initiative, Out of Site brings together two riveting, thought-provoking performances by Chicago-based artists Wannapa P-Eubanks and Alexandria Eregbu.

The 50/50 initiative’s spirit and the critical commemoration of US women’s suffrage underpin also several of the participatory projects and workshops of the 2020 ARTexchange program and exhibition that can be also explored during the CWA Reception. Elizabeth Cady Stanton’s 19th-century women’s suffrage address “Solitude of Self” is, for instance, the focus of Carol Flueckiger’s drawing workshop Solitude of Selfie, while the underside of the movement is addressed in UNDERBELLY, a participatory performance by Jennifer Natalya Fink and Julie Laffin. Click here to participate in this modern suffragette parade. For complete list of artists and workshops of 2020 ARTexchange click here.

CWA PICKS FOR CAA 2020 IN CHICAGO

Woman Made Gallery 

Woman Made Gallery is a tax-exempt, not-for-profit organization founded in 1992. Its goal is to cultivate, promote and support the work of female-identified artists by providing exhibition opportunities, professional development, and public programs that invite discussion about what feminism means today.
Link

Vaginal Davis as G.B. Jones in Beggars of Life segment of The White to be Angry, 1999
Photo by John AES Nihil of Aesthetic Nihilism Pictorial

Vaginal Davis: The White to be Angry at the Art Institute Chicago
at the Art Institute Chicago
February 1 – April 26, 2020
Link

Mika Rottenberg: Easypiecesat
at the Bergman Family Gallery
October 2, 2019 – March 8, 2020
Link

Female Trouble: Amanda Joy Calobrisi, Lilli Carré, Qinza Najm, Kathryn Refi, Frances Waite
at Western Exhibitions
January 10 – February 22, 2020
Link

Margie Criner: Mind Over Matter
at Bert Green Fine Art
January 11 – February 22, 2020
Link

Candida Alvarez: Estoy Bien
at Monique Meloche Gallery
February 1 – March 28, 2020
Link

American Medina: Stories of Muslim Chicago
at Chicago History Museum
Link

Why women should vote
at Jane Addams Hull House
Link

True Peace: the presence of justice
at Jane Addams Hull-House Museum
Link

Facing Freedom in America 
at Chicago History Museum
Link

Beth Foley
at Gallery Victor Armendariz
January 10 – February 28, 2020
Link

Weaving Beyond the Bauhaus
at the Art Institute Chicago
August 3, 2019 – February 17, 2020
Link

Robyn O’Neil: The Tapestries
at Western Exhibitions
January 10 – February 22, 2020
Link

VISIT THE CONFERENCE SITE

Filed under: Annual Conference, CWA Picks —

Announcing the 2020 Awards for Distinction Recipients

posted by CAA — Feb 04, 2020

Honorees this year include Eleanor Antin, Joseph Leo Koerner, Maud K. Lavin, Annet Couwenberg, Harriet Senie, Kyle Staver, and many other scholars, artists, and teachers

CAA Annual Conference, Chicago, February 12-15, 2020

Eleanor Antin

We are pleased to announce the recipients and finalists of the 2020 CAA Awards for Distinction. Among the winners this year is Eleanor Antin, recipient of the 2020 Distinguished Artist Award for Lifetime Achievement. Born in the Bronx in 1935 to immigrant parents, Antin is an innovator and pioneer as a feminist artist, a performance and installation artist, a conceptual artist, filmmaker, and writer. She is an emeritus Professor of Visual Arts at the University of California, San Diego and author of several books including An Artist’s Life by Eleonora Antinova and Conversations with Stalin. Antin’s solo museum exhibitions have appeared at the MoMA, the Whitney Museum, and, in 2019, the Los Angeles County Museum of Art with her retrospective, Eleanor Antin: Time’s Arrow. Her awards include a Guggenheim Fellowship and a 2006 Women’s Caucus for Art Lifetime Achievement Award.

Joseph Leo Koerner

Joseph Leo Koerner is the recipient of the 2020 Distinguished Lifetime Achievement Award for Writing on Art. His achievements include four landmark books on sixteenth-century paintings: The Moment of Self-Portraiture in German Renaissance Art (University of Chicago Press, 1993), The Moment of Self-Portraiture in German Renaissance Art (University of Chicago Press, 2003), The Reformation of the Image (Reaktion Books, 2004), and Bosch and Bruegel: From Enemy Painting to Everyday Life (Princeton University Press, 2016). Koerner has also written widely on more recent artists, from Caspar David Friedrich to Paul Klee, and explored early-twentieth century Vienna through a documentary project and a semi-autobiographical film.

Maud K. Lavin

Dr. Maud K. Lavin is the recipient of the 2020 Distinguished Feminist Award for scholarship. Over the course of three decades, Lavin has worked tirelessly as a key pioneer in the field of feminist art history and visual studies. She is the author of numerous books including the first English-language book on Berlin Dada artist Hannah Hoch, Cut with the Kitchen Knife: The Weimar Photomontages of Hannah Hoch (Yale University Press, 1993), and most recently,  Boys’ Love, Cosplay, and Androgynous Idols: Queer Fan Cultures in Mainland China, Hong Kong, and Taiwan, co-edited with Ling Yang and Jamie Zhao (Hong Kong University Press, 2017). She is a professor of Visual and Critical Studies and Art History, Theory, and Criticism at the School of the Art Institute of Chicago.

The Awards for Distinction will be presented during Convocation at the CAA Annual Conference on Wednesday, February 12 at 6:00 PM at the Hilton Chicago. This event is free and open to the public.

The full list of 2020 CAA Awards for Distinction Recipients

Distinguished Artist Award for Lifetime Achievement

Eleanor Antin

Distinguished Lifetime Achievement Award for Writing on Art

Joseph Leo Koerner

Distinguished Feminist Award—Scholar

Maud K. Lavin

Distinguished Teaching of Art Award

Annet Couwenberg

Distinguished Teaching of Art History Award

Harriet Senie

Artist Award for Distinguished Body of Work

Kyle Staver

CAA/AIC Award for Distinction in Scholarship and Conservation

Jeanne Marie Teutonico

Award for Excellence in Diversity

3Arts

Outstanding Leadership in Philanthropy Award

Terra Foundation for American Art

Charles Rufus Morey Book Award

J. P. Park
A New Middle Kingdom: Painting and Cultural Politics in Late Chosŏn Korea (1700–1850)
University of Washington Press, 2018

Finalists

Chanchal B. Dadlani
From Stone to Paper: Architecture as History in the Late Mughul Empire
Yale University Press, 2019

Barbara Furlotti
Antiquities in Motion: From Excavation Sites to Renaissance Collections
Getty Publications, 2019

Matthew Looper
The Beast Between: Deer in Maya Art and Culture
University of Texas Press, 2019

Alfred H. Barr Jr. Award

Karl Kusserow and Alan C. Braddock
Nature’s Nation: American Art and Environment
Princeton University Art Museum, 2019
with contributions by Miranda Belarde-Lewis, Teddy Cruz, Rachael Z. DeLue, Mark Dion, Fonna Forman, Laura Turner Igoe, Robin Kelsey, Anne McClintock, Timothy Morton, Rob Nixon, Jeffrey Richmond-Moll, Kimia Shahi, and Jaune Quick-to-See-Smith

Honorable Mention

Esther Gabara
Pop América, 1965–1975
Duke University Press, 2018

Finalists

Cathleen Chaffee
Introducing Tony Conrad: A Retrospective
Albright-Knox Art Gallery, Buffalo, NY, in association with Koenig Books, London, 2019

Jessica Morgan and Alexis Lowry
Charlotte Posenenske: Work in Progress
Dia Art Foundation and Walther König, 2019

Elizabeth Morrison
Book of Beasts: The Bestiary in the Medieval World
Getty Publications, 2019

Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions

Denise Murrell
Posing Modernity: The Black Model from Manet and Matisse to Today
Yale University Press in association with The Miriam and Ira D. Wallach Art Gallery, Columbia
University in the City of New York, 2018

Honorable Mention

Phillip Earenfight
Shan Goshorn: Resisting the Mission
Trout Gallery, Dickinson College, 2019

Finalists

Tracy L. Adler
Jeffery Gibson: This is The Day
Prestel Publishing, 2018

Faith Brower, Heather Ahtone, and Seth Hopkins
Warhol and the West
University of California Press, 2019

Frank Jewett Mather Award for Art Criticism

Darby English
To Describe a Life: Notes from the Intersection of Art and Race Terror
Yale University Press, 2019

Art Journal Award

Philip Glahn and Cary Levine
“The Future Is Present: Electronic Café and the Politics of Technological Fantasy”
Art Journal, vol. 78, no. 3 (Fall 2019): 100–121

Arthur Kingsley Porter Prize

Claudia Brittenham
“Architecture, Vision, and Ritual: Seeing Maya Lintels at Yaxchilan Structure 23″
The Art Bulletin, vol. 101, no. 3 (September 2019): 8–36

Learn about the juries that select the recipients of the CAA Awards for Distinction.

VISIT THE CONFERENCE SITE

Filed under: Annual Conference, Awards, Books, Education, People in the News —

A Letter to CAA Members from the History of Art Department at Yale University

posted by CAA — Feb 03, 2020

Dear Fellow CAA Members,

Last week CAA forwarded to its members an article from a student newspaper, the Yale Daily News, on the subject of introductory courses in the History of Art at Yale, without opportunity for comment from the Department. In the statement below my colleagues and I explain what is actually happening, as we move to offer Yale undergraduates a range of introductory courses that do justice to the diversity of our faculty’s research, of Yale’s collections and of the student body itself.

I work with a group of brilliant art historians who are constantly rethinking what we teach and how to teach it – our vision is expansive rather than reductive, in terms both of coverage and of art-historical methodology. It’s an interesting reflection on the current media ecology that the modest, incremental and generous changes being introduced to Yale’s curriculum could lead to an astonishing outburst of reactionary moral outrage online. Hyperbolic comparisons are rife: the ‘New York Post’ sees us as Visigoths poised to destroy Rome. We read of ‘Stalin at Yale.’ But Stalin murdered nine million people, while our Department is offering four, rather than two, 100-level courses. The parallel is imprecise, to say the least.

As all of us, across the profession, are exploring how to move forward, inspiring students to study the history of art and architecture. This is a matter of urgency in a world where critical visual skills have never been more important. We assert for our discipline a central role in a liberal arts education. Accordingly, plans are already afoot for a discussion around introductory art history teaching at the New York meeting of the Association in 2021. Visigoths will be welcome. I hope to see you there!

• Tim Barringer, Chair, Department of the History of Art, Yale University

---

The following statement has been approved by all members of the History of Art Department at Yale University:

For more than half a century, Yale’s History of Art Department has been dedicated to “the study of all forms of art, architecture, and visual culture in their social and historical contexts.”  A particular strength of the Department’s teaching is close engagement with the great works from major world traditions held in the Yale University Art Gallery, where spectacular examples of European and American paintings and sculpture, prints, drawings and photographs sit alongside world class collections of Asian, African and the Indo-Pacific art. The Beinecke Library, Yale Center for British Art and Peabody Museum hold manuscripts, paintings, drawings and artefacts central to our field of study and teaching mission.

Art history is a global discipline. Yale faculty have made field-changing contributions to the study the arts of the Americas (notably Pre-Columbian art and the full range of North American art from colonial to contemporary), African art and arts of the African Diaspora, Asian and Islamic Arts, and European art from ancient times to today.  The diversity of the Department’s faculty and our intellectual interests finds an analogue in the diversity of today’s student body.

Discussions in the Department have focused on how to ensure that this diversity of research and resources can inform and energize our teaching. Offerings at the undergraduate level include upper-level lecture courses that address a full range of subjects (such as ‘Greek Art and Architecture’, ‘African Arts and Expressive Cultures’, ‘American Photojournalism’ and ‘Introduction to Contemporary Art’). Small intensive seminars are more focused still (such as ‘Surrealism,’ ‘Japanese Screens’, and ‘The Global Museum’). We aim for the widest possible selection of courses, balanced across time and region, while we maintain and cherish intensive coverage of western art, from classical Greece to medieval, Renaissance and Baroque, nineteenth-century, modern and contemporary.

But what about survey courses, which aim to introduce a large body of students from across Yale to the History of Art? We have traditionally offered two survey courses. The first discusses the ancient Middle East, Egypt, and pre-Renaissance European art (HSAR 112). The second covers European and American art from the Renaissance to the present (HSAR 115). New introductory courses have been added to these two offerings, such as ‘Global Decorative Arts,’ ‘Arts of the Silk Road,’ ‘Global Sacred Art’ and ‘The Politics of Representation.’ Faculty members have designed these introductory courses to engage the wealth of objects in Yale’s collections but also to move across traditions and periods.

Beginning this past Fall 2019, the Department committed to offering four different introductory courses each year. All of these courses, current or future, are designed to introduce the undergraduate with no prior experience of the History of Art to art historical looking and thinking. They also range broadly in terms of geography and chronology. Essential to this decision is the Department’s belief that no one survey course taught in the space of a semester could ever be comprehensive, and that no one survey course can be taken as the definitive survey of our discipline.

As we continue to renew our curriculum while preserving our commitment to introductory teaching of the broadest scope, new courses will replace HSAR112 and 115. Some will engage with the monuments and masterpieces of European and American art, some will introduce other world traditions, and some will be organized thematically offering comparative perspectives. As always, our introductory classes will bring Yale students face to face with works of art and material objects of great beauty and cultural value from across time and place.

We remain as committed as ever to “the study of all forms of art, architecture, and visual culture” and to sharing insights into works of art, from the Parthenon sculptures to Benin bronzes, from Renaissance Florence to Aztec sculpture, from the Taj Mahal to performance and digital art. As life becomes increasingly dominated by the visual, through screens and lenses, Art History’s focus on critical visual analysis has never been more relevant. Recent excitement on social media about Yale’s curriculum demonstrates just how significant and lively – even controversial – the study of Art History can, and should, be. We are delighted to welcome large numbers of students to Art History classes at Yale now and in the future.

Filed under: Art History, Higher Education —

Meet the 2020 Travel Grant Recipients

posted by CAA — Jan 29, 2020

CAA offers Annual Conference Travel Grants to graduate students in art history and studio art and to international artists and scholars. Meet this year’s recipients below.

CAA GRADUATE STUDENT CONFERENCE TRAVEL GRANTS

CAA awards Graduate Student Conference Travel Grants to advanced PhD and MFA graduate students as partial reimbursement of travel expenses to the Annual Conference.

Maureen Burdock, University of California, Davis

Josephine Lee, Parsons School of Design

Brantly Hancock Moore, University of North Carolina at Chapel Hill

Nicole Winning, University of Massachusetts at Dartmouth

CAA INTERNATIONAL MEMBER CONFERENCE TRAVEL GRANTS

CAA awards the International Member Conference Travel Grant to artists and scholars from outside the United States as partial reimbursement of travel expenses to the Annual Conference.

Alex Burchmore, Australian National University

Panos Kompatsiaris, National Research University Higher School of Economics,Moscow

Stephen Adéyemí Folárànmí, Rhodes University, South Africa

CAA TRAVEL GRANT IN MEMORY OF ARCHIBALD CASON EDWARDS, SENIOR, AND SARAH STANLEY GORDON EDWARDS

Established by Mary D. Edwards with the help of others, the CAA Travel Grant in Memory of Archibald Cason Edwards, Senior, and Sarah Stanley Gordon Edwards supports women who are emerging scholars at either an advanced stage of pursuing a doctoral degree or who have received their PhD within the two years prior to the submission of the application.

Kristen Nassif, University of Delaware
Paper: Seeing Through Blindness: Disability, Tactile Relief Maps, and Geography
Session: Disability in the Arts: The Active Participation of People with Disabilities in the Arts

Shirlynn Sham, Yale University
Paper: The Eighth Wonder of the World: Design and Danger in Marc and Isambard Brunel’s Thames Tunnel Project
Session: Topographical Drawing

SAMUEL H. KRESS FOUNDATION CAA CONFERENCE TRAVEL FELLOWSHIP FOR INTERNATIONAL SCHOLARS

Recognizing the value of first-hand exchanges of ideas and experience among art historians, the Kress Foundation is offering support for international scholars participating as speakers at the 2020 CAA Annual Conference. The scholarly focus of the papers must be European art before 1830.

Sophie Ong, Rutgers University
Paper: ‘I pray…that I may have sommethyng for my nekke’: Understanding Jewelry and Its Popularity in the Late Middle Ages and Today
Session: Kitsch and Craft in the Middle Ages: Making Medieval Art Popular

Bruno Ligore, Nice University, France
Paper: Embodying the Antique in the Early 19th Century: Ballet Masters’ Drawing Practices
Session: Dancing in the archives: choreographers’ drawings as resources for art historians (19th-20th centuries)

Halyna Kohut, Ivan Franko National University of Liviv, Ukraine
Paper: Is it the Rug or the ‘Other’?
Session: Different Shades of Othering: Orientalism/Occidentalism in the World of Art

Elisa Antonietta Daniele, University of Verona, Italy
Paper: Performing Bodies, Dancing Trifles: Drawing New Worlds in Il Tabacco, Commemorative Album for the Courtly Ballet Staged in Turin (1650)
Session: Early Modern Animation: Mascarades, Ballet, Automata

Estefanía López-Salas, Universidade da Coruña, Spain
Paper: Towards a Web-Based Representation of Spatial Change Over Time at San Julián de Samos
Session: Advanced Topics in Digital Art History: 3D (Geo)Spatial Networks

Elena Granuzzo, Independent Scholar, Italy
Paper: The Cicognara Library and Michelangelo Buonarroti: A Historiographical Reading through the Sources
Session: Historic Libraries and the Historiography of Art (II)

CAA-GETTY INTERNATIONAL PROGRAM

Every year since 2012, the CAA-Getty International Program has brought between fifteen and twenty art historians, museum curators, and artists who teach art history to attend CAA’s Annual Conference. This program is funded on an annual basis by the Getty Foundation. Click here to meet the CAA-Getty International Program participants.

Filed under: Annual Conference, Grants and Fellowships, International —

CAA’s Services to Artists Committee Presents ARTexchange2020

posted by CAA — Jan 29, 2020

ARTexchange2020

Workshops • Performances • Exhibition

at Columbia College Chicago, Hokin Gallery, 623 South Wabash
February 12–February 24, 2020
Gallery Hours: Monday–Friday 9:00am–10:00pm; Saturday, 9:00am–5:00pm

Take part in workshops and performances facilitated by artists: Noah Breuer, Wendy DesChene + Jeff Schmuki, Jennifer Natalya Fink & Julie Laffin, Carol Flueckiger, Visda Goudarzi & Artemi-Maria Gioti, MiHyun Kim, Jill Odegaard, Lydia See, Christine Stiver.

View dynamic installations co-created with the public. Visitors can interact with many of the installations even when facilitating artists are not present. Come by every day to see how the space changes. Workshops and events are “drop-in” friendly. You can come and go for any time during facilitated workshops.

CAA’s Services to Artists Committee (SAC), in collaboration with the “Hokin Project,” a gallery management practicum course at Columbia College Chicago, presents ARTexchange 2020 as an opportunity for artists to share their work and build affinities with other artists, historians, curators, cultural producers, and the public.

The exhibition will remain on view through February 24, 2020.

For a full listing of all SAC programming at the 108th CAA conference, see here.

And don’t forget the ARTexchange Reception, Friday, February 14, 7:00pm–8:30pm.

Black Lunch Table — Wikipedia Edit-a-thon

Join us for a Wikipedia edit-a-thon hosted by the Black Lunch Table. Their initiative creates and improves articles about Black visual artists. Celebrating artists of color, women artists, and artists with disabilities, this program supports inclusion and recognition of intersectionality. No prior experience necessary. Bring a computer and a friend!

This programming is partially funded by the Office of Academic Diversity, Equity, and Inclusion, Columbia College Chicago.

Workshop times: Thursday, 10:30am–1:30pm; Friday, 10:30am–1:30pm in the Media Lounge

Noah Breuer – CB&S Rubbings and Print Project

Noah Breuer leads a printmaking workshop, utilizing engraved designs inspired by CB&S, his great-great-grandfather’s textile factory that was seized along with all Jewish-owned property in German-occupied areas during WWII. Participants leave with their own book and contribute one copy for visual materials to be built upon by the next participants.

Workshop times: Wednesday, 4:00pm–6:00pm; Thursday, 4:00pm–6:00pm; Friday, 12:00pm–2:00pm

Wendy DesChene + Jeff Schmuki – Ostraka

Join DesChene and Schmuki in celebration of our fundamental right to vote through Ostraka, a collaborative installation that mirrors a 5th-century BC Athenian tradition, where citizens would inscribe the name of a person they wanted to politically neutralize on a shard of broken pottery called an ostrakon.

Workshop times: Wednesday, 2:00pm–4:00pm; Friday, 12:00pm–2:00pm

Jennifer Natalya Fink & Julie Laffin – UNDERBELLY

Join artists Fink and Laffin in a performance and “modern suffragette” march, retracing the steps of historical suffrage parades. Airing some dirty laundry to expose the underbelly of the movement, participants will wear two-sided sashes imprinted with both positive and negative statements related to the suffragette movement and voting rights.

Performance time: Thursday, 4:00pm–6:00pm

If you want to be a modern suffragette and participate in the march, sign up here to be contacted by the artists. Meet at the Hokin Gallery at 3:40 pm. Don’t forget to dress weather appropriate.

Carol Flueckiger – Solitude of Selfie

Flueckiger’s project explores Elizabeth Cady Stanton’s 19th century women’s suffrage address “Solitude of Self”. Participants will be prompted to engage with Stanton’s speech and make response drawings. Works will be pinned to the wall and later scanned and integrated into a book honoring the 100^th anniversary of the 19^th amendment.

Workshop times: Wednesday, 9:00am–11:00am; Friday, 9:00am–11:00am

Visda Goudarzi & Artemi-Maria Gioti – Soundsourcing

Soundsourcing is a participatory performance orchestrated by artists Goudarzi and Gioti. In this collaborative sound performance, audience members contribute vocal sounds (words, phonemes and noises) which are picked up by two condenser microphones and processed by laptop performers in real-time. The artists invite participation in this unique sound creation process.

Performance time: Friday, 7:00pm–8:00pm

MiHyun Kim – Stories Become Data

Stories Become Data is an interactive digital environment that invites participants to add their own stories to a collective narrative. MiHyun Kim will lead a workshop utilizing iPads and projection to create a space for participants to share and to visualize their stories collectively and simultaneously through real time.

Workshop time: Friday, 2:00pm–4:00pm

Jill Odegaard – Woven Welcome

Woven Welcome is a community-based art project that utilizes the form of a woven rug as a statement of the interconnectedness of individuals. Join artist Jill Odegaard in creating this artistic metaphor, and engage in a dialogue with other conference attendees and community members.

Workshop times: Wednesday, 6:00pm–10:00pm; Friday, 9:00am–12:00pm

Lydia See – BMC Playbook

Lydia See’s BMC Playbook encourages the examination and manipulation of materials, space, and the collective spirit. This collaborative project, resulting in an installation in the Hokin Gallery, includes a series of chance operations based on a generative BMC card game, inspired by material study workshops at Black Mountain College.

Workshop time: Thursday, 4:00pm–6:00pm

Materials and instructions are available outside facilitated workshop times for the entire exhibition.

Christine Stiver – Banquet Art

Stiver’s participatory performance Banquet Art is modeled after one of Caroline Shawk Brooks’ own sculpting demonstrations in which she sculpted one face after another on the same bust of butter. Participants will sculpt a series of portraits, starting with Napoleon and George Washington, a litany of “great leaders” will follow.

Workshop time: Friday, 4:00pm–8:00pm

Ongoing

Graduate Student Screenings

A curated selection of current MA/MFA videos/digital artworks, premieres at the Media Lounge Wednesday. Participating artists: ANDiLAND, Jorge Bañales, Andrea Bagdon, Jacklyn Brickman/Heather Taylor, Christian Casas, Danielle Damico, Jesse Egner, Caleb Engstrom, Mary Gring, Selena Ingram, Bibiana Medkova, Carolina Montejo, Strange Lens, Maria V, F. C. Zuke

VISIT THE CONFERENCE SITE

Filed under: Annual Conference, Artists, ARTspace, Committees, Film, Workshops —

New in caa.reviews

posted by CAA — Jan 24, 2020

   

Delia Cosentino reviews The Codex Mexicanus: A Guide to Life in Late Sixteenth-Century New Spain by Lori Boornazian Diel. Read the full review at caa.reviews.

Natalie Dupêcher discusses Susan Laxton’s Surrealism at Play. Read the full review at caa.reviews. 

Jessi DiTillio writes about the exhibition catalog Art and Race Matters: The Career of Robert Colescott, edited by Raphaela Platow and Lowery Stokes Sims. Read the full review at caa.reviews.

Filed under: caa.reviews —

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