CAA News Today
Affiliated Society News for March 2016
posted by CAA — Mar 09, 2016
American Council of Southern Asian Art
The fiftieth anniversary of the American Council of Southern Asian Art (ACSAA) was marked at the ACSAA Symposium XVII, which convened October 15–17, 2015, at the Royal Ontario Museum in Toronto. Deepali Dewan, senior curator for the Royal Ontario Museum and ACSAA president, was the symposium’s host. The event consisted of opening and closing keynote lectures by Tapati Guha-Thakurta and Michael Willis, respectively, and two full days of riveting panels, special presentations, and visits to the Royal Ontario Museum and the Aga Khan Museum. Participants included senior scholars, graduate students, museum curators, and artists from the United States, Canada, Europe, India, and the Middle East. The strong international constituency was fitting for the first ACSAA symposium held outside the United States.
American Institute for Conservation of Historic and Artistic Works
To commemorate the fiftieth anniversary of the Florence floods, the theme for the joint annual meeting of the American Institute for Conservation of Historic and Artistic Works (AIC) and the Canadian Association for Conservation is “Emergency! Preparing for Disasters and Confronting the Unexpected in Conservation.” The event will be held May 13–17, 2016, at the Palais des Congrès in Montreal, Canada. Colleagues will address, in a broad-based way, the impact of past, present, and future disasters on the protection of cultural property. In addition, papers that address confronting the unexpected in conservation, whether it occurs during the treatment of an artifact or during a natural disaster, are requested. The scope of the theme will include immediate reactions, such as the application of crowd-mapping technology to aid response efforts, as well as longer term developments stemming from disasters, such as the adoption of simple strategies: effective risk-assessment methodologies, the rapid transformation of damaged artifacts into objects of veneration, and the repercussions of instantaneous visibility of destruction. Learn more and register at online.
American Society for Aesthetics
The American Society for Aesthetics (ASA) is sponsoring five meetings in 2016. Please visit the ASA website for the most up-to-date calls for papers for ASA events and for meetings organized by other schools and organizations.
Association of Print Scholars
The Association of Print Scholars (APS) hosted its inaugural lecture, “Why Study Prints Now?” by Peter Parshall, in September 2015. The group also held a scholarly conference in November 2015, with sections devoted to five-minute presentations by doctoral students on their dissertation topics and an afternoon session on “Method, Material, and Meaning: Technical Art History and the Study of Prints.”
APS invites applications for two major opportunities directed at early-career scholars. A printmaking workshop, scheduled for May 20–21, 2016, in Providence, Rhode Island, is intended to provide advanced graduate students and early-career professionals with the opportunity to learn about prints in a hands-on way through presentations and instruction by practitioners including Andrew Raftery and Brian Shure. Some funding is available, by application, to offset the costs of travel. The Schulman and Bullard Article Prize ($2,000) is given annually to an article published by an early-career scholar that features compelling and innovative research on prints or printmaking, across any geographic region and all chronological periods. Nomination (and self-nomination) criteria and instructions are available on the APS website.
Foundations in Art: Theory and Education
Foundations in Art: Theory and Education (FATE) will soon accept session proposals. The group will also have a series of new membership benefits this year. Members old and new can take advantage of the prorated membership period. Benefits of membership include all enewsletters and the annual FATE in Review journal. Please remember that membership is required to attend the 2017 FATE biennial conference, hosted by the Kansas City Art Institute.
FATE now offers a retiree faculty individual membership rate at $30 for the 2016–17 membership periods. Also, please consider an institutional sponsorship this year at the regular, gold, or silver levels. Annual regular sponsorship at $100 includes one individual membership, five copies of FATE in Review, and your institution’s name on FATE’s website and enewsletters.
FATE is offering further membership benefits for silver and gold institutional sponsorship levels this year. Support your institution’s instructional team through these group memberships. For $250, the silver institutional sponsorship offers four annual memberships and ten copies of FATE in Review. At $500, the gold sponsorship supports ten annual memberships and fifteen copies of FATE in Review.
Renew or sign up on the FATE website. Contact the vice president of FATE membership, Colleen Merrill, with any questions. FATE’s CAA affiliate representative is Naomi J. Falk.
Historians of British Art
The Historians of British Art have announced the winners of its book awards for publications from 2014. The winners were chosen from a nominating list of over eighty books from more than twenty different presses. Awards are granted in three categories. For pre-1800, the recipients are Paul Binski, Gothic Wonder: Art, Artifice, and the Decorated Style, 1290–1350 (New Haven: Yale University Press, 2014); and Mark Hallett, Reynolds: Portraiture in Action (London: Paul Mellon Centre for Studies in British Art; New Haven: Yale University Press, 2014). For post-1800 books, the winner is John Potvin, Bachelors of a Different Sort: Queer Aesthetics, Material Culture and the Modern Interior in Britain (Manchester: Manchester University Press, 2014). In the multiauthor category, the award went to Catherine Jolivette, ed., British Art in the Nuclear Age (Burlington, VT: Ashgate, 2014).
International Association of Art Critics
The United States chapter of the International Association of Art Critics (AICA-USA) will hold its next annual meeting on May 3, 2016, at the Jewish Museum in New York. Please join members of the organization at noon for the press preview of the Roberto Burle-Marx exhibition, followed by the AICA business meeting at 1:00 PM and a workshop, “How Do Art Critics Use Social Media?”
Italian Art Society
The Italian Art Society (IAS) has announced that Megan Holmes of the University of Michigan will deliver the seventh annual IAS/Kress Lecture, in Florence at Villa I Tatti, the Harvard University Center for Italian Renaissance Studies, on June 1, 2016. Her lecture is titled “New Perspectives on the Reception of Florentine Panel Painting: Interpreting Scratch Marks.”
The recipient of the first IAS Dissertation Grant is Kelly Whitford, a PhD candidate at Brown University, whose project is “Embodying Belief: Crossing the Ponte Sant’Angelo with Bernini’s Angels.” The inaugural Fogliano/Lester Dissertation Research Grant has been awarded to Krisztina Ilko, a doctoral student at the University of Cambridge, for her project “Artistic Patronage of the Augustinian Hermits in Central Italy in the Thirteenth and Fourteenth Centuries.” The recipient of the IAS Research and Publication Grant is Amy Neff of the University of Tennessee, whose project is titled “A Soul’s Journey into God: Art, Theology, and Devotion in the Supplicationes variae (Blibliteca Medicea Laurenziana, Plut.25.3).” Finally, the 2016 Fogliano/Lester Research Grant goes to Ioanna Christoforaki from the Research Centre for Byzantine and Post-Byzantine Art at the Academy of Athens for her project, “From Rags to Riches: Importing Cloth and Exporting Fashion between Venice and Cyprus.”
Society of Architectural Historians
The Society of Architectural Historians (SAH) has received a $123,000 grant from the Alphawood Foundation to hire Harboe Architects to develop a conservation-management plan for the Charnley-Persky House, which serves as the headquarters of SAH. Designed by the firm Adler and Sullivan in 1891–92 when Frank Lloyd Wright was an apprentice in its office, the Charnley-Persky House will celebrate the 125th anniversary of its design in 2016 with a new conservation-management plan that will assess the current physical state of the structure, identify potential problem areas, and establish conservation priorities for the continued health of the building.
SAH will hold its annual international conference in Pasadena and Los Angeles from April 6 to 10, 2016. The conference will include forty-two paper sessions, roundtable discussions, awards ceremony, and more. Public events include architecture tours and a Saturday seminar on SurveyLA, the Los Angeles Historic Resources Survey. Register online.
SAH is accepting applications for the SAH/Mellon Author Awards, designed to provide financial relief to scholars who are publishing their first monograph on the history of the built environment and who are responsible for paying for image rights and permissions. Deadline: May 15, 2016.
Society of Historians of East European, Eurasian, and Russian Art and Architecture
At this year’s CAA Annual Conference in Washington DC, the Society of Historians of East European, Eurasian, and Russian Art and Architecture (SHERA) sponsored two sessions: “Collecting, Curating, Canonizing, Critiquing: The Institutionalization of Eastern European Art,” chaired by Ksenia Nouril; and a double session led by Alison Hilton, “Exploring Native Traditions in the Arts of Eastern Europe and Russia.” The second part of Hilton’s session took place at the Hillwood Museum and Gardens, which also served as the location for the SHERA membership meeting.
Also at the conference, Margaret Samu served as a host to attendees from Bulgaria, Croatia, Hungary, and Russia, who were part of the CAA-Getty International Program. Samu arranged meetings with specialists in the visitors’ expertise and facilitated their participation in a full-day preconference program organized by CAA’s International Committee about international issues in art history, as well as in other events connected to the conference.
Visual Resources Association
Places are still available for the Summer Educational Institute (SEI) for Visual Resources and Image Management, to be held June 7–10, 2016, at the University of North Carolina, Chapel Hill. This intensive workshop, organized by the Visual Resources Association (VRA), features a curriculum that will address the latest requirements for professionals in the visual arts charged with the responsibility of image management. Expert instructors will cover: intellectual-property rights; developing and delivering digital content; metadata for cultural-heritage materials; digital preservation; and bringing it all together (projects, people, and budgets). Founded over ten years ago, SEI is a joint project of the Art Libraries Society of North America (also a CAA affiliate) and the Visual Resources Association Foundation. SEI provides the information and experience needed to stay current in a rapidly changing field; the workshop also offers significant networking opportunities. Past participants have included current and recent graduate students, museum professionals, image-rights managers, and art historians. Please feel free to contact the SEI cochairs, Greta Bahnemann or Jesse Henderson, with any questions.
Apply for a Meiss Publishing Grant
posted by Christopher Howard — Mar 02, 2016
CAA is accepting applications for spring 2016 grants through the Millard Meiss Publication Fund. Thanks to a generous bequest by the late art historian Millard Meiss, the twice-yearly program supports book-length scholarly manuscripts in any period of 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.
The publisher, rather than the author, must submit the application to CAA. Awards are made at the discretion of the jury and vary according to merit, need, and number of applications. Awardees are announced six to eight weeks after the deadline. For the complete guidelines, application forms, and a grant description, please visit the Meiss section of the CAA website. Deadline: March 15, 2016.
2016 Annual Conference Highlights
posted by Nia Page — Feb 26, 2016
CAA hosted its 104th Annual Conference from February 3 to 6, 2016, at the Washington Marriott Wardman Park in Washington, DC. This year’s program included four days of presentations and panel discussions on art history and visual culture, Career Services for professionals at all stages of their careers, a Book and Trade Fair, and a host of special events throughout the region.
Attendance
Close to 4,000 people from throughout the United States and abroad—including artists, art historians, students, educators, curators, critics, collectors, and museum staff—attended the conference. Visual-arts professionals from over 49 countries were represented.
Sessions
Conference sessions featured presentations by artists, scholars, designers, graduate students, and curators who addressed a range of topics in art history and the visual arts. In total, the conference offered over 200 sessions, developed by CAA members, affiliated societies, and committees. Over 750 individuals presented their work.
Career Services and Professional Development
Career Services included four days of job interviews with colleges, universities, and other art institutions while Professional Development offerings included career mentoring and portfolio-review sessions, professional-development workshops, professional development roundtables and a variety of Student and Emerging Professional Committee programming such as Brown Bag discussions and Mock Interviews. During the professional development programming, approximately 30 professionals served as mentors to 120 young professionals, 5 established professionals led free professional roundtable discussions, and 13 Visual Arts specialists conducted development workshops throughout the conference. During the week of the Annual Conference, there were over 189 active jobs posted on the Online Career Center and more than 24 employers participating onsite.
Book and Trade Fair
This year’s Book and Trade Fair presented 98 exhibitors—including participants from the United States, France, Germany, Belgium, Italy, Singapore, Canda, Mexico, United Kingdom and Ukraine—that displayed new publications, materials for artists, digital resources, and other innovative products of interest to artists, scholars, and arts enthusiasts. The Book and Trade Fair also featured book signings, lectures, and demonstrations, as well as three exhibitor-sponsored program sessions on art materials and publishing. The conference had generous sponsorship support from the exhibitors Artforum/Bookforum, Art in America, Blick Art Materials, Bloomsbury, Frieze, Laurence King Publishers, Pearson, Prestel, Richmond-The American International University in London, Routledge and Yale University Press.
ARTspace
ARTspace, a “conference within the conference” tailored to the needs and interests of practicing artists, presented programming that was free and open to the public, including this year’s Annual Distinguished Artists’ Interviews with Joyce Scott who spoke with George Ciscle, Maryland Institute College of Art and Rick Lowe, who conversed with LaToya Ruby Frazier, Independent Artist and The School of the Art Institute, Chicago. The latter was presented as a partnership with the MacArthur Foundation to celebrate 35 years of its Fellowship program. Both Lowe and Frazier received MacArthur Fellowships in 2014 and 2015, respectively.
Watch the Annual Distinguished Artists’ Interviews
Over 150 people attended this lively event.
ARTspace also featured four days of panel discussions devoted to visual-arts practice, opportunities for professional development, and screenings of film and video.
ARTexchange, an open-portfolio event in which CAA artist members displayed drawings, prints, photographs, small paintings, and works on laptop computers, took place on Friday, February 5. Nearly 35 artists participated in ARTexchange this year.
The Media Lounge, a space for innovative new-media programming in conjunction with ARTspace. This year, the Media Lounge brought together academics, new media artists, artist collectives, alternative communities, guest speakers, filmmakers, and performers to lead workshops, present work, and generate productive discussions and crowd sourcing under the conceptual framework VISIBLE/INVISIBLE, Art & Politics.
The theme, VISIBLE/INVISIBLE, Art & Politics explored the legacy of identity and representation politics, considered in the context of our present culture where individuals, organizations and ideas can be easily captured, tracked, exposed, appropriated from the circulation of digital material which simultaneously feeds capitalist media assembly lines and alternative economies. The aim of the Media Lounge programming was to foster a dialog centered on emerging artistic sensibilities that mix art and a politics of representation amid a transforming sociopolitical landscape. The setting of CAA 2016, Washington DC and an election year, offered a unique opportunity to engage in these discussions.
ARTspace was made possible in part by a generous grant from the National Endowment for the Arts.
Student and Emerging Professionals Lounge
The Student and Emerging Professionals Lounge served as a hub for networking, information sharing, collaboration, professional development, and much more. The Student and Emerging Professionals Committee hosted an incredibly informative session on “Mentoring in the 21st Century” to a packed audience; a breakfast meet-and-greet with 200 attendees; five Brown Bag Sessions with attendance ranging from 45 to 160; a successful social night; and three days of Mock Interviews at full capacity.
Distinguished Scholar Session
Richard Powell, John Spencer Bassett Professor of Art and Art History and Dean of Humanities, Duke University was CAA’s 2016 Distinguished Scholar.
A panel including Kobena Mercer, Professor, History of Art and African American Studies at Yale University; Gwen Everett, Associate Dean of the Division of Fine Arts at Howard University; Kellie Jones, Associate Professor of Art History at Columbia University; and Suzanne Preston Blier, Allen Whitehill Clowes Professor of Fine Arts and of African and African American Studies at Harvard University joined in exploring and celebrating Powell’s many contributions.
Watch the Distinguished Scholar Session honoring Richard Powell.
Convocation and Awards
More than 1,000 people attended CAA’s Convocation and presentation of the annual Awards for Distinction, which honor the outstanding achievements and accomplishments of individual artists, art historians, authors, conservators, curators, and critics whose efforts transcend their individual disciplines and contribute to the profession as a whole and to the world at large. Tania Bruguera, the Cuban performance artist, delivered the keynote address.
Watch the CAA Convocation and Keynote Talk by Tania Bruguera.
The title of Bruguera’s talk was “Aest-ethics: Art with Consequences.” Bruguera’s work on issues of free speech and immigration and her fearlessness to speak out against forces of oppression—many of which she has experienced firsthand in Cuban prisons—is important and undeniably relevant to not just the art and academic worlds, but also the world at large.
The recipients of the 2016 Awards for Distinction were:
Charles Rufus Morey Book Award
Krista Thompson
Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice
Duke University Press
Alfred H. Barr Jr. Award
Stephanie Barron and Sabine Eckmann
New Objectivity: Modern German Art in the Weimar Republic 1919–1933
Los Angeles County Museum of Art and DelMonico Books
Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions
Myroslava M. Mudrak and Tetiana Rudenko
Staging the Ukrainian Avant-Garde of the 1910s and 1920s
Ukrainian Museum
Arthur Kingsley Porter Prize
Matthew C. Hunter
“Joshua Reynolds’s ‘Nice Chymistry’: Action and Accident in the 1770s”
The Art Bulletin, March 2015
Frank Jewett Mather Award for Art Criticism
Chika Okeke-Agulu
Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria
Duke University Press
Art Journal Award
Abigail Satinsky
“Movement Building for Beginners”
Art Journal, Fall 2015
Distinguished Feminist Award
Carrie Mae Weems
Distinguished Teaching of Art Award
Sabina Ott
Distinguished Teaching of Art History Award
Patricia Berger
Artist Award for Distinguished Body of Work
Arlene Shechet
Distinguished Artist Award for Lifetime Achievement
Carmen Herrera
CAA/American Institute for Conservation Award for Distinction in Scholarship and Conservation
Debra Hess Norris
Distinguished Lifetime Achievement Award for Writing on Art
Rosalind E. Krauss
Morey and Barr Award Finalists
CAA recognizes the 2016 finalists for the Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Awards for their distinctive achievements:
Charles Rufus Morey Book Award Finalists
- Paul Binski, Gothic Wonder: Art, Artifice, and the Decorated Style, 1290–1350, Yale University Press, for the Paul Mellon Centre for Studies in British Art
- Elina Gertsman, Worlds Within: Opening the Medieval Shrine Madonna, Pennsylvania State University Press
- Adam Herring, Art and Vision in the Inca Empire: Andeans and Europeans at Cajamarca, Cambridge University Press
Alfred H. Barr Jr. Award Finalist
- Jens M. Daehner and Kenneth Lapatin, eds., Power and Pathos: Bronze Sculpture of the Hellenistic World, J. Paul Getty Museum
Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions Finalist
- Timothy Verdon and Daniel M. Zolli, eds., Sculpture in the Age of Donatello: Renaissance Masterpieces from Florence Cathedral, Museum of Biblical Art, in association with D. Giles
Special Events
Following Convocation, the Katzen Arts Center at American University was host to CAA’s Opening Reception on Wednesday evening, February 3. Over 250 attendees gathered to celebrate the conference while enjoying a stroll through the museum’s permanent collections.
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 will support women who are emerging scholars at either an advanced stage of pursuing a doctoral degree (ABD) or who have received their PhD within the two years prior to the submission of the application. Diana Seave Greenwald of the University of Oxford delivered her paper “Within the grade of certain obvious criteria of merit:” Sample Bias in Art History and Earl Shinn’s The Art Treasures of America in the “Very Generally Ignorant, Flippant: Art Criticism and Mass Media in the Nineteenth Century” session and Imogen Wiltshire of the University of Birmingham presented her paper Process and Function at the New Bauhaus in Chicago: Concepts of Modernism and the Development of Therapeutic Art Practices as part of the “Modernism and Medicine” 2-part session.
CAA-Getty International Travel Grant Program
In an effort to promote greater interaction and exchange between American and international art historians, CAA brought 15 scholars from around the world to participate in the Annual Conference. This is the fifth year of the program, which has been generously funded by grants from the Getty Foundation since its inception.
The CAA-Getty International Program participants’ activities began with a one-day preconference colloquium on international issues in art history, during which they met with North American–based CAA members to discuss common interests and challenges. The participants were assisted throughout the conference by CAA member hosts, who recommended relevant panel sessions and introduced them to colleagues who share their interests.
Representatives from several CAA affiliated societies served as hosts, including the Arts Council of the African Studies Association, the Association for Latin American Art, the Society of Contemporary Art Historians, and the Society of Historians of East European, Eurasia, and Russian Art and Architecture. More information about the group’s activities will appear in upcoming articles in CAA News and on the International Desk of the CAA website.
To date, this program has brought 90 scholars from 41 different countries to participate in CAA’s Annual Conference and expanded international networking and the exchange of ideas both during and after the conference.
The 2016 recipients were: Sarena Abdullah, Senior Lecturer, School of the Arts, Universiti Sains Malaysia, Penang; Abiodun Akande, Principal Lecturer, Department of Fine and Applied Arts, Emmanuel Alayande College of Education, Oyo State, Nigeria; María Isabel Baldasarre, Associate Professor, Universidad Nacional de San Martin, Buenos Aires, Argentina; Danielle Becker, Lecturer in Art History and Visual Studies, University of Cape Town and Stellenbosch University, South Africa; Heloisa Espada, Postdoctoral Researcher, Museum of Contemporary Art of the University of Saõ Paulo, Brazil; Ildikó Fehér, Associate Professor, Art History Department, University of Fine Arts of Hungary, Budapest, Hungary; Peyvand Firouzeh, Post-doctoral Fellow, Museum fur Islamische Kunst, Berlin, Germany; Lev Maciel, Associate Professor, National Research University, Higher School of Economics, Moscow, Russia; Bui Thi Thanh Mai, Lecturer of Art History, Head of Department of Academic Research Management and International relations, Vietnam University of Fine Arts, Ha Noi, Vietnam; Emmanuel Moutafov, Associate Professor, Director, Institute of Art Studies, Bulgarian Academy of Sciences, Sofia, Bulgaria; Ceren Ozpinar, Lecturer, Isik University and Kadir Has University, Istanbul, Turkey; Horacio Ramos, Associate Professor, Pontificia Universidad Católica del Perú; Olaya Sanfuentes, Professor, Pontificia Universidad Católica de Chile, Paulo Silveira, Professor, Universidade Federal do Rio Grande do Sul, Porto Alegre, Brazil; Sandra Uskokovic, Assistant Professor, University of Dubrovnik, Arts & Restoration Department, Croatia.
CAA 2015 Professional-Development Fellowships
CAA awarded four 2015 Professional-Development Fellowships—two in the visual arts and two in art history—to graduate students in MFA and PhD programs across the United States. In addition, CAA has named two honorable mentions in art history and four in the visual arts. The fellows and honorable mentions also receive a complimentary one-year CAA membership and free registration for the 2016 Annual Conference where they were honored at Convocation and at a private reception.
Recipients of the fellowships in the visual arts were:
- Delano Dunn, School of Visual Arts, $10,000
- Derrick Woods-Morrow, School of the Art Institute of Chicago, $4,000 (gift of the Milton and Sally Avery Arts Foundation)
Recipients of the fellowship in art history were:
- Marin Sarvé-Tarr, University of Chicago, $10,000
- Emilie Boone, Northwestern University, $2,500 (gift of the Elizabeth A. Sackler Museum Educational Trust)
The honorable mentions for art history were awarded to: Adrian Anagnost, University of Chicago; and Monica Bravo, Brown University. For the visual arts, honorable mentions are bestowed upon: Zhiwan Cheung, Carnegie Mellon University; Sarah Hewitt, Purchase College, State University of New York; Victoria Maidhof, San Francisco Art Institute; and Kaiya Rainbolt, San Diego State University.
Board of Directors Update
Results of the Board of Directors election were announced on February 3, 2016, during the Annual Members’ Business Meeting. The new directors are: appear below.
- Carma Gorman Associate Professor & Assistant Chair, Department of Art and Art History, University of Texas at Austin
- Elizabeth Schlatter Deputy Director and Curator of Exhibitions, University of Richmond Museums, Richmond
- Andrew Schulz Associate Dean for Research & Associate Professor, College of Arts and Architecture, Pennsylvania State University
- Anuradha Vikram Lecturer, Graduate Public Practice, Otis College of Art and Design, Los Angeles
They will take office at the next board meeting in May 2016.
New board officers were elected:
- Doralynn Pines, Vice President for External Affairs
- Jim Hopfensberger, Vice President for Committees
Affiliated Societies
CAA would like to welcome two new affiliated societies:
Thank You
Members of CAA’s Board of Directors and staff would like to extend their gratitude to all conference funders and sponsors, attendees, volunteers, and participants; the organization’s committees and award juries; the Washington Marriott Wardman Park staff; the museums and galleries that opened their doors to conference attendees free of charge; and everyone else involved in helping to make the 104th Annual Conference such a tremendous success!
A warm thanks to the following for their generous support of CAA:
- Andrew W. Mellon Foundation
- Artforum/Bookforum
- Art in America
- Blick Art Materials
- Bloomsbury
- Frieze
- Getty Foundation
- Katzen Arts Center
- Laurence King Publishing
- National Endowment for the Arts
- Pearson
- Prestel
- Richmond, The American International University in London
- Routledge
- Samuel H. Kress Foundation
- Terra Foundation for American Art
- Wyeth Foundation for American Art
- Yale University Press
Save the Date
CAA’s 105th Annual Conference will be held in New York, February 15–18, 2017.
About CAA
The College Art Association is dedicated to providing professional services and resources for artists, art historians, and students in the visual arts. CAA serves as an advocate and a resource for individuals and institutions nationally and internationally by offering forums to discuss the latest developments in the visual arts and art history through its Annual Conference, publications, exhibitions, websites, and other events. CAA focuses on a wide range of issues, including education in the arts, freedom of expression, intellectual-property rights, cultural heritage and preservation, workforce topics in universities and museums, and access to networked information technologies. Representing its members’ professional needs since 1911, CAA is committed to the highest professional and ethical standards of scholarship, creativity, criticism, and teaching.
Image Captions
Conference attendees gather for a Professional Development Roundtable (photograph by Bradley Marks)
Conference attendees meet vendors in the Book and Trade Fair (photograph by Bradley Marks)
Rick Lowe and LaToya Ruby Frazier in conversation in ARTspace (photograph by Bradley Marks)
Mentoring activities in the SEP Lounge (photograph by Bradley Marks)
Tania Bruguera speaks at Convocation (photograph by Bradley Marks)
Friends gather at the Opening Reception at the Katzen Art Center (photograph by Bradley Marks)
The 2016 participants in the CAA-Getty International Program (photograph by Bradley Marks)
Fellowship recipients and honorable mentions in art history (photograph by Bradley Marks)
Recipients of the 2015 Professional Development Fellowships
posted by Christopher Howard — Jan 22, 2016
CAA has awarded four 2015 Professional-Development Fellowships—two in the visual arts and two in art history—to graduate students in MFA and PhD programs across the United States. In addition, CAA has named two honorable mentions in art history and four in the visual arts. The fellows and honorable mentions also receive a complimentary one-year CAA membership and free registration for the 2016 Annual Conference in Washington, DC.
Receiving fellowships in the visual arts are:
- Delano Dunn, School of Visual Arts, $10,000
- Derrick Woods-Morrow, School of the Art Institute of Chicago, $4,000 (gift of the Milton and Sally Avery Arts Foundation)
The two recipients of the fellowship in art history are:
- Marin Sarvé-Tarr, University of Chicago, $10,000
- Emilie Boone, Northwestern University, $2,500 (gift of the Elizabeth A. Sackler Museum Educational Trust)
The honorable mentions for art history go to: Adrian Anagnost, University of Chicago; and Monica Bravo, Brown University. For the visual arts, honorable mentions are bestowed upon: Zhiwan Cheung, Carnegie Mellon University; Sarah Hewitt, Purchase College, State University of New York; Victoria Maidhof, San Francisco Art Institute; and Kaiya Rainbolt, San Diego State University.
DeWitt Godfrey, president of the CAA Board of Directors, will formally recognize the fellows and honorable mentions at the 104th Annual Conference during Convocation, taking place on Wednesday evening, February 3, 2016, at the Washington Marriott Wardman Park Hotel.
CAA’s fellowship program supports promising artists and art historians who are enrolled in MFA and PhD programs nationwide. Awards are intended to help them with various aspects of their work, whether for job-search expenses or purchasing materials for the studio. CAA believes a grant of this kind, without contingencies, can best facilitate the transition between graduate studies and professional careers. The program is open to all eligible graduate students in the visual arts and art history. Applications for the 2016 fellowship cycle will open in late spring.
Fellows in the Visual Arts
Delano Dunn
Born in Los Angeles, California, Delano Dunn currently lives and works in New York. Through painting, mixed media, and collage, he explores questions of racial identity and perception through various contexts, ranging from the personal to the political and drawing from his experience growing up in South Central LA.
Dunn has had solo exhibitions in Los Angeles, New York, and Buffalo and is currently completing an MFA at the School of Visual Arts in New York. He holds a BFA from Pratt Institute in Brooklyn. Upcoming exhibitions include a solo show at the 2016 Affordable Art Fair and a group show at Artspace in New Haven, Connecticut. His work is also on view at the Delaware Center for the Contemporary Arts in Wilmington until March 4.
View images of Dunn’s work: Example 1, Example 2, Example 3.
Derrick Woods-Morrow
Derrick Woods-Morrow was born and raised in Greensboro, North Carolina. He is an MFA student in the Photography Department at the School of the Art Institute of Chicago (SAIC) in Illinois. He holds a BA from Randolph College in Lynchburg, Virginia, and earned a postbaccalaureate certificate from the Massachusetts College of Art and Design (MassArt) in Boston. Woods-Morrow’s work has been shown at the Kinsey Institute at Indiana University, Randolph’s Maier Museum of Art, the President’s Gallery at MassArt, the Sullivan Galleries at SAIC, and the ACRE residency, where he was a Terry Plumming Scholar. He has received the Carol Becker Merit Scholarship at SAIC.
Woods-Morrow’s work explores the problematic ideals of masculinity embedded in systems that constructs gay pornography, where intimacy is frail and domination and disregard are desired traits; where oppressive force is the norm; where the African American does not exist except as fetishized commodity; and where a prevailing use of heterosexual vocabulary continues to establish masculine credibility within queer imagery.
View images of Woods-Morrow’s work: Example 1, Example 2.
Fellows in Art History
Marin Sarvé-Tarr
Marin Sarvé-Tarr will complete a PhD in art history at the University of Chicago in Illinois in summer 2016. Her dissertation, “Seizing the Everyday: Lettrist Film and the French Postwar Avant-Garde, 1946–1954,” examines the films produced by members of Lettrism, Nouveau Réalisme, and the Situationist International; it also identifies informal networks between later rivals forged in cafés and ciné-clubs in 1950s Paris. Her project shows how artists’ collaborative films and public demonstrations impacted the agendas of publishers, cinemas, and museums that patronized artists, molded public reception of the arts, and figured social progress in reconstruction France. With support from the Deutsches Forum für Kunstgeschichte, the Getty Research Institute, and the Georges Lurcy Charitable and Educational Trust, Marin presented on religion and the avant-garde at CAA’s 2014 Annual Conference. She is also publishing a chapter on Lettrist cinema in a forthcoming volume from the European Postwar and Contemporary Art Forum, to be published later this year.
Marin earned a BA in 2008 from Scripps College in Claremont, California, where she curated The Politics of Satire: La Caricature in Post-Revolutionary France at the Clark Humanities Museum. She contributed to exhibitions and programs at the Art Institute of Chicago, the Fondation Cartier pour l’art contemporain in Paris, and the Bophana Audiovisual Resource Center in Phnom Penh, Cambodia. Marin helped to organize Interiors and Exteriors: Avant-Garde Itineraries in Postwar France (2013–14) at the University of Chicago’s Smart Museum of Art. As a 2015–16 Andrew W. Mellon Curatorial Research Fellow for the Chicago Object Study Initiative at the Art Institute of Chicago, Marin is currently preparing object-based research and publications on Surrealism.
Emilie Boone
Emilie Boone is currently a PhD candidate in the Department of Art History at Northwestern University in Evanston, Illinois. She focuses on the history of photography, the art of the African diaspora, and American art. Her dissertation, “Visions of Harlem: Reconsidering the Studio Photography of James Van Der Zee,” demonstrates the intrinsic role of Van Der Zee’s images in constructing multivalent narratives of Harlem. Boone has written for History of Photography and African Arts and for Columbia College Chicago’s Museum of Contemporary Photography and Washington University’s Mildred Lane Kemper Art Museum in Saint Louis, Missouri. Most recently, she has contributed to an exhibition catalogue, From Within and Without: The History of Haitian Photography, for the NSU Museum of Art Fort Lauderdale in Florida. She also has an essay in the forthcoming anthology, Towards an African-Canadian Art History: Art, Memory, and Resistance.
Boone’s honors include a fellowship at the Smithsonian Institute’s National Portrait Gallery, a Fulbright fellowship at the Notman Photographic Archives, a Terra Foundation Residency in Giverny, France, and an Eliza Dangler Curatorial Fellowship at the Art Institute of Chicago. In 2011, 2013, and 2015, she was an invited participant of the Ghetto Biennale in Port-au-Prince, Haiti. A critical-studies residency at the Center for Photography at Woodstock led to her recent role as a selection panelist for the Woodstock Artist-in-Residency Program for artists working in the photographic arts. As a postdoctoral Mellon curatorial fellow, Boone looks forward to advancing her research, teaching, and curatorial engagement at the Williams College Museum of Art in Williamstown, Massachusetts.
Honorable Mentions in Visual Art and Art History
Adrian Anagnost
Adrian Anagnost is a historian of modern and contemporary art whose scholarship investigates the intersections of urban space, political economy, and aesthetic practice. She earned a PhD from the University of Chicago in Illinois in December 2015. Her dissertation, titled “Contested Spaces: Art and Urbanism in Brazil, 1928–1969,” considers how the artists and architects Flávio de Carvalho, Lúcio Costa, Lina Bo Maria Bardi, Waldemar Cordeiro, Lygia Clark, and Hélio Oiticica engaged with the built environment as a concretization of social relations in Brazil.
Before coming to Chicago, Anagnost completed an MA in modern art from Columbia University in New York, with a thesis on the contemporary photographer James Welling. She also worked in the archive and registration departments of David Zwirner in New York. Anagnost’s writings on Waldemar Cordeiro, Carol Bove, Oswald de Andrade, and Pedro Almodóvar have appeared in the Chicago Art Journal, Hemisphere: Visual Cultures of the Americas, and ArtUS. Her upcoming publications include an article on the Polish Constructivist Teresa Żarnower for the Woman’s Art Journal and an essay on the work of the contemporary artist Theaster Gates.
Monica Bravo
Monica Bravo is an ABD doctoral candidate specializing in American art in a global context and the history of photography at Brown University in Providence, Rhode Island. She received her BA in studio art from Dartmouth College in Hanover, New Hampshire, in 2004, and an MA in art history and criticism from Stony Brook University in Stony Brook, New York, in 2009. Bravo’s dissertation examines exchanges between modernist photographers in the United States and modern Mexican artists working in painting, poetry, music, and photography, resulting in the development of a greater American modernism in the interwar period.
Bravo has been a fellow at the University of Arizona’s Center for Creative Photography, the Huntington Library, Art Collections, and Botanical Gardens in San Marino, California, and the Georgia O’Keeffe Museum Research Center in Santa Fe, New Mexico. She is currently a Wyeth predoctoral fellow at the National Gallery of Art’s Center for Advanced Study in the Visual Arts in Washington, DC.
Zhiwan Cheung
They say that geography defines a person. Born in America and raised by Chinese immigrants, Zhiwan Cheung lives in a sort of permanent in-between state of being neither fully American nor Chinese. As a journey toward a home that does not exist, a rite of passage with no destination, he uses his work to search for a critical understanding of an impossible homecoming. Cheung’s practice focuses on the meaning and space between identities, examining the feeling of a liminal displacement through sculpture, film, and performance. In approaching this journey, he probes the intersection of national identity and the personal psyche with an open-ended, multimedia approach.
Performativity gets closer to the heart of all identity. It is no coincidence that many great actors continue to employ their characters long after the camera stopped running. For the best performances, the blurring between fake and real becomes so powerful that we cease to see the actor or the character: one is constantly subsumed by the other, leaving the residue of the actual and the imaginary to shift and ebb between various in-between-states. This sacrificing of the self and the fabrication of a persona speak to the destruction of the self for art. Or is it perhaps the other way around? James Luna, a Native American performance artist, once said, “How do you talk about things like intercultural identity[?] Do you talk about it in third person? If you sacrifice yourself, so to speak, then it becomes much more dynamic.” The sacrificing of the true self and the fabricated persona speaks to the destruction of the soul for art, or perhaps it is the other way around. Life is art. Art is life.
The intersection of national identity and the personal psyche is complex, not always clear nor fixed. As an artist, Cheung probes the paths and how and where they join and diverge. This personal odyssey explores the permanent liminal through diverse strategies and processes. It is a journey guided by an allusive visual language, with a mix of pop-cultural, art-historical, and aesthetic choices that also guide audiences into finding their own rites of passage.
View images of Cheung’s work: Example 1, Example 2, Example 3.
Sarah Hewitt
She vows
To make plastic art
Redefine plastic art
To make you love plastic art
To challenge and bewitch you with what you think is formal or plastic
To make you bow to her craft\
Redefine craft
To weave
To weave your mind
To weave your mind into confusion
To drag you into the sacred without your consent
Let the work be deep, dark, and dirty—gritty. It comes from a place of authenticity. Sarah Hewitt is not looking to create a spectacle for fun or frivolity. This is serious business for her. She is crafting a new fabric in a manner that is complicated—as complicated and fragile as our contemporary moments.
Hewitt’s works are exhibited around the country and have garnered many awards, grants, and residencies, including the Skowhegan School of Painting and Sculpture and a fellowship at the Vermont Studio Center. This spring she will receive her MFA in visual art from Purchase College, State University of New York.
View images of Hewitt’s work: Example 1, Example 2, Example 3.
Victoria Maidhof
Victoria Maidhof has been fascinated by unconventional people for as long as she can remember. She was raised in a middle-class suburban neighborhood where her family stood out as eccentrics. They were the only secular family on the block, and her parents encouraged their children to run wild, play hard, and reject authority. Maidhof’s father told captivating stories about his unusual upbringing, many of which revolved around his mother, a paranoid schizophrenic, and his father, a merchant marine with severe posttraumatic stress disorder.
As Maidhof got older, she became curious about other people that lived unorthodox lifestyles. Having seen the work of Mary Ellen Mark and Diane Arbus, she knew that the camera could grant permission into the lives of complete strangers. In 2003, Maidhof moved to San Francisco to study photography at the San Francisco Art Institute in California. After completing her BFA, she returned to her home town, San Diego, with her now-husband Tahan in tow. They currently reside in La Mesa, where she works full time as a photographer. Maidhof is finishing her MFA through the San Francisco Art Institute’s low-residency program.
View images of Maidhof’s work: Example 1, Example 2, Example 3.
Kaiya Rainbolt
Kaiya Rainbolt earned her BA in English literature at Earlham College in Richmond, Indiana, and studied studio art at City College of San Francisco in California, with a focus in metalwork. She currently attends the MFA program in jewelry and metalwork at San Diego State University. Rainbolt has participated in several national juried exhibitions and has been recognized with numerous scholarships and awards.
Though trained as a metalsmith, Rainbolt currently uses a wide variety of materials in her work, including fabrics, clothing, steel, lead, and animal hide. She is focused on creating work that has the potential to elicit a visceral response from the viewer in order to promote engagement in a way that makes it easier to participate in dialogue about socially sensitive issues. Rainbolt believes that an art object, as a representation of a particular human struggle, has the potential to span differences in experience, background, and culture in a way that creates connection, generates empathy, and fosters understanding.
View images of Rainbolt’s work: Example 1, Example 2.
News from the Art and Academic Worlds
posted by Christopher Howard — Jan 13, 2016
Each week CAA News publishes summaries of eight articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Should Art Grants Be Awarded to Artists Who Don’t Need the Money?
When talking to the founders of the James W. Ray Distinguished Artist Award in Seattle, I was trying to raise a general discussion around the fact that many arts funders don’t take financial need into account when deciding who gets their money. I’m not talking about making need the decisive factor. I’m talking about making it one factor among several. (Read more from the Stranger.)
The Most Relevant Art Today Is Taking Place outside the Art World
When artists operate outside the gallery space, whether because their work functions best there or because they are forced to, they are both creating valuable art and making the limitations of traditional art institutions visible—physically, historically, and conceptually. Perhaps such work can even change those institutions, those structures of looking. (Read more from Artsy.)
The Robots Are Coming
Artists as diverse as Rachel Whiteread, Oscar Murillo, and Yayoi Kusama are beginning to use the high-tech fabrication methods once available to only the most commercially successful artists. Lower-cost robots that mimic an artist’s arm movements and joints are starting to replace the pricey computer-numerical-control machines that Jeff Koons uses to produce his sleek, industrial aesthetic. (Read more from the Art Newspaper.)
The Secret to All Great Art Forgeries
In A Forger’s Tale, the convicted forger Shaun Greenhalgh reveals that he drew Leonardo da Vinci’s La Bella Principessa, which has been valued upwards of $100 million. Greenhalgh even admits that he modeled the subject after a supermarket checkout girl. If his claims are true, how did this forgery go unnoticed for so long? How did it pass the sniff tests of so many art historians and purported experts? (Read more from the New Republic.)
College Degree Gap Grows Wider for Whites, Blacks, and Latinos
The racial gap in who’s graduating from college has widened since 2007, a new report shows. While more blacks and Latinos are graduating from college now, the percentage of whites graduating has grown even faster. About 33 percent of African American adults had at least a two-year college degree in 2015, up from about 28 percent in 2007. For Latinos, that figure grew to about 23 percent from 19 percent, while whites grew to 47 percent from 41 percent. (Read more from the Hechinger Report.)
Translating Research into Practice
During the past twenty years, college and university faculty have begun to utilize several areas of the learning sciences, including cognitive psychology, to inform pedagogy. Much of this work has happened in ways that have helped our profession to more effectively teach and our students to more effectively learn. However, we still have much work to do if we claim that we have a well-developed set of tools that can be applied across disciplines. (Read more from Faculty Focus.)
Helen Molesworth’s Permanent-Collection Show at MOCA Is Upending the Story of Art
Enter the permanent collection galleries of any museum of modern and contemporary art in the United States and it’s likely you’ll lay eyes on a familiar story: the muscular narrative of the Abstract Expressionists attacking their canvases, continuing through the pathways of 1960s Pop and 1970s Minimalism before landing at the Neoexpressionism of the 1980s. Pay a visit to Los Angeles’ Museum of Contemporary Art, however, and you will see that story turned on its head. (Read more from the Los Angeles Times.)
What Money Can Buy
The urge to change the world is normally thwarted by a near-insurmountable barricade of obstacles: failure of imagination, failure of courage, bad governments, bad planning, incompetence, corruption, fecklessness, the laws of nations, the laws of physics, the weight of history, inertia of all sorts, psychological unsuitability on the part of the would-be changer, the resistance of people who would lose from the change, the resistance of people who would benefit from it, the seduction of activities other than world-changing, lack of practical knowledge, lack of political skill, and lack of money. (Read more from the New Yorker.)
Collaboration with the MacArthur Foundation
posted by CAA — Jan 12, 2016
One of CAA’s annual Distinguished Artists’ Interviews at the 2016 Annual Conference in Washington, DC—the artist Rick Lowe in conversation with the photographer LaToya Ruby Frazier—is among the first events of the John D. and Catherine T. MacArthur Foundation’s year-long series of performances, discussions, and other events to celebrate the thirty-fifth anniversary of its iconic fellowship program. The MacArthur Foundation will collaborate with a diverse set of partners for 2016 programming, including Chicago’s Grant Park Music Festival, Washington’s Kennedy Center for the Performing Arts, and New York’s 92nd Street Y. Most events will be open to the public for free or at low cost. Video of many events will be published online.
Lowe received a MacArthur fellowship in 2014, and Frazier won the prize in 2015. The Distinguished Artists’ Interviews will take place on Friday, February 5, 2:30–5:00 PM, in the Thurgood Marshall Ballroom East/South, Mezzanine Level, at the Washington Marriott Wardman Park Hotel in Washington, DC. Preceding their conversation will be another interview: the artist Joyce Scott interviewed by George Ciscle of the Maryland Institute College of Art. Both talks will be live streamed on CAA’s YouTube page.
“Working across every field imaginable, MacArthur fellows capture the public imagination and inspire people to nurture creativity in their own lives and communities,” said Cecilia Conrad, managing director of the MacArthur Fellows Program, during a luncheon at the City Club of Chicago that also featured the labor organizer Ai-Jen Poo and the artist Iñigo Manglano-Ovalle, both MacArthur fellows. “This year-long celebration will showcase fellows’ work, foster new collaborations, and enable these highly creative people to further inspire us all.”
Programming is under development and subject to change; but it is expected to include the following events:
- Lowe will deliver a lecture on “Art in the Social Context” at Stanford University’s Haas Center for Public Service in California, as part of the Mimi and Peter E. Haas Distinguished Visitor program(February 4)
- In conjunction with an exhibition of her work, the Whitney Museum of American Art will host a discussion with the documentary filmmaker Laura Poitras (New York, February).
- Sixth & I, a historic synagogue and cultural event space in Washington, DC, will present a panel discussion featuring MacArthur fellows (March)
- The 92nd Street Y in New York will present a panel discussion featuring MacArthur fellows (March)
- The Economics Club of Chicago will feature two conversation pairings with the arts entrepreneur Claire Chase and the music educator Aaron Dworkin, as well as the computational biologist John Novembre and the historian Tara Zahra (May 25)
- MacArthur fellows will be featured in a plenary session at the annual convention of Americans for the Arts in Boston (June)
- The Chicago Humanities Festival will incorporate MacArthur fellows into its regular annual programming (September)
- The John F. Kennedy Center for the Performing Arts in Washington, DC, will host two free public performances by MacArthur fellows through its Millennium Stage series (October)
The anniversary celebration will also include an online component, featuring one MacArthur fellow each month responding to public questions on Reddit as well as interviews with fellows on popular YouTube channels.
The MacArthur fellowship—called “genius grants” by the media—recognizes exceptionally creative individuals with a track record of achievement and the potential for significant contributions in the future. Fellows each receive a no-strings-attached stipend of $625,000, which comes with no stipulations or reporting requirements and allows recipients maximum freedom to follow their own creative visions. Since 1981, 942 people have been named MacArthur fellows. Fellows are selected through a rigorous process that has involved thousands of expert and anonymous nominators, evaluators, and selectors over the years.
CAA in Review
posted by CAA — Jan 11, 2016
The College Art Association advances the highest standards of instruction, knowledge and practice in the visual arts to stimulate intellectual curiosity and advance skills that enrich the individual and society. Below is a sampling of CAA’s recent work on Fair Use, Standards and Guidelines in the Visual Arts, international scholarship programs, publishing grants, and professional development fellowships for artists and scholars. For more information and updates, visit www.collegeart.org.
CAA Project on Fair Use in the Visual Arts
- Conceived with guidance of over 60 members of the CAA governing community
- Directly reached nearly 2,000 people through talks and webinars
- Publication of groundbreaking Code of Best Practices in the Visual Arts
- Endorsed and supported by the American Library Association, Art Libraries Society of North America, Association of Art Museum Curators, Association of College and Research Libraries Association of Research Libraries, Society of Architectural Historians, Visual Resources Association, American Alliance of Museums, and Association of Art Museum Directors
Standards and Guidelines for the Visual Arts
- Development of workplace practices, pedagogical guidelines, official statements, and establishment of professional ethics in the visual arts
- From 2014-2015, CAA issued the following Standards and Guidelines:
- Statement On Terminal Degree Programs in The Visual Arts and Design (2015)
- Guidelines for CAA Interviews (2015)
- Guidelines for Part-Time Professional Employment (2015)
- Standards for Professional Placement (2015)
- Standards for the Practice of Art History (2014)
- Code of Best Practices in Fair Use for the Visual Arts, CAA (2015)
- Fine Art Print Publication Guidelines for Artists (2015)
- Standards for the Practice of Art History (2014)
- General Principles for Academic Arts Administrators (2015)
Publishing Toward the Future
- Sharp increase in readership after co-publishing contract with Taylor & Francis
- 2014-15 Art Bulletin full text downloads: 37,631
- 2014-15 Art Journal full text downloads: 29,891
- CAA Reviews website visits: 88,131
- Joint Task Force between CAA and the Society of Architectural Historians (SAH) to developing guidelines for evaluating digital scholarship in art and architectural history.
- Art Journal Open launches new features including Bookshelves of art historians, artists, curators, and designers and discussions between curators and artists
- Graduate Programs in the Visual Arts published in two volumes for the fifth consecutive year
CAA International Reach
- In its first four years the CAA-Getty International Program has had 75 Participants from 37 Countries hosted by 46 CAA members
- Launch of the International News Desk on CAA website
- Organized CAA Member International Tour to Cuba for the Havana Biennial
- Expansion of membership to art critics, art historians, and artists based abroad
Increasing Digital Footprint
- 2014-15 visitors to CAA website over 6.5 million
- Continued growth in social media reach: Facebook (6,462 likes) and Twitter (13.7K)
- Launch of Instagram account and Flickr image archive
- Launch of Social Media Wall for 2016 Annual Conference
Grants Awarded to CAA
- CAA projects and initiatives funded by grants from the Andrew W. Mellon Foundation, the Getty Foundation, The National Endowment for the Arts, the Andy Warhol Foundation, the Terra Foundation for American Art, the Wyeth Foundation for American Art, the Samuel H. Kress Foundation, the Milton and Sally Avery Foundation, and Elizabeth A. Sackler Museum Educational Trust
Fellowships, Grants, and Support Offered by CAA
- CAA offered to artists, authors, and art historians grants and fellowships including the Meiss/Mellon Author’s Book Award, CAA Getty International Program, the Millard Meiss Publications Fund, the Terra Foundation for American Art International Publication Grant, Wyeth Foundation for American Art Publication Grant, CAA Professional Development Fellowships, and travel grants supporting graduate students and international members of CAA.
Affiliated Society News for January 2016
posted by CAA — Jan 09, 2016
Art Council of the African Studies Association
The current board members of the Art Council of the African Studies Association (ACASA) are: President – Silvia Forni, Curator, Anthropology, Department of World Cultures, Royal Ontario Museum, Toronto; President Elect/Vice President – Shannen Hill, Associate Curator for African Art and Head of the AAAPI Department, Baltimore Museum of Art, and Senior Fellow, National Museum of African Art; Past President – Dominique Malaquais, Senior Researcher, Centre d’Etudes des Mondes Africains, CNRS; Secretary – Liese Van der Watt, Independent Writer and Researcher, London; Treasurer – Jordan Fenton, Assistant Professor of Art History in the Department of Art, Miami University, Ohio; Website Editor – Cory Gundlach, PhD student (ABD) in African Art History, and Associate Curator of African and Non-Western Art at the University of Iowa Museum of Art; Newsletter Editor – Deborah Stokes, Curator for Education, National Museum of African Art; Assistant Newsletter Editor – Leslie Rabine, Professor Emerita at the University of California, Davis; ASA Liaison – Cécile Fromont, Assistant Professor, Department of Art History at the University of Chicago; CAA Liaison – Yaëlle Biro, Associate Curator for African Arts, Metropolitan Museum of Art; Eric Appau Asante, Lecturer of African Art and Culture; Kwame Nkrumah University of Science and Technology; Boureima Diamitani, Executive Director of the West African Museums Programme; and Sidney Kasfir, Professor Emerita, Art History Department, Emory University.
Art Libraries Society of North America and the Visual Resources Association Foundation
A Summer Educational Institute for Visual Resources and Image Management (SEI 2016) will be held at the University of North Carolina in Chapel Hill from June 7 to 10, 2016. Founded over ten years ago, SEI is a joint project of the Art Libraries Society of North America (ARLIS/NA) and the Visual Resources Association Foundation (VRAF). It is designed to serve a wide range of professionals eager to learn about new technologies and update job skills: museum staff, visual-resources curators, librarians, archivists, art educators, and all those managing digital image media. This intensive workshop offers a mix of hands-on and lecture sessions presented by expert instructors. Registration for SEI 2016 opened in January. Please feel free to contact the SEI cochairs with any questions: Greta Bahnemann, University of Minnesota; and Jesse Henderson, University of Wisconsin.
Association of Academic Museums and Galleries
The Association of Academic Museums and Galleries (AAMG) Leadership Seminar will take place June 19–24, 2016, at Northwestern University in Evanston, Illinois. The application deadline is January 15, 2016. Join colleagues from throughout the United States and beyond for AAMG’s flagship professional development program at Northwestern’s prestigious Kellogg School Center for Nonprofit Management. Dynamic, engaging, highly interactive by design, and interspersed with team and individual problem-solving exercises in leadership and management, this intensive five-day certificate program will allow you to learn from one another and be guided and inspired by nationally recognized scholars drawn principally from Kellogg’s renowned faculty. To learn more about the program and to download an application, please visit the AAMG website.
Association of Art Editors
The Association of Art Editors (AAE) website underwent a major remodeling in the summer of 2015. The New York–based graphic designer Matt See created the fresh and attractive template, which was refined, detailed, and implemented by DataCom Ota of Duluth, Minnesota. The site’s format is now simpler, easier on the eyes (more legible type and appealing colors), and more flexibly viewable (including via smartphone). Among other improvements, the member entries and services index have greater clarity, and job opportunities are linked via the homepage rather than incorporated in the Services section, as before. Over all, navigation has been much enhanced. The AAE website is accessible—free to all.
International Center of Medieval Art
The International Center of Medieval Art (IMCA) is pleased to announce and solicit applications for two recently created awards. First, the Graduate Student Travel Award. Three grants will be awarded this year, at $3,000 each, for PhD students in the early stages of dissertation research. Applications are due on March 1, and applicants must be ICMA members. The second award, the new ICMA book prize, will be awarded in 2017 to the best single-authored, printed book on any topic in medieval art published in 2016. Books published in English, French, Spanish, Italian, or German are eligible for consideration. For more information, please contact Ryan Frisinger.
Italian Art Society
The annual members’ business meeting of the Italian Art Society (IAS) will take place at the 2016 CAA Annual Conference on Friday, February 5, 2016, 7:30–9:00 AM in the Washington Marriott Wardman Park Hotel, Washington 4, Exhibition Level. In addition to reports on IAS activities and election results, three IAS founders will be honored, the 2016 IAS/Kress lecturer will be announced, and recipients of various grants and awards will be recognized. The IAS long session, “Beyond Texts and Academies: Rethinking the Education of the Early Modern Italian Artists,” organized by Jesse Locker of Portland State University, will follow at 9:30 AM in Washington 1, Exhibition Level. The IAS-sponsored short session, “Rethinking the Rhetoric and Force of Images,” organized by Robert Williams of the University of California, Santa Barbara, and Anna Marazuela Kim of the Courtauld Institute of Art, will take place the same day, 12:30–2:00 PM, in the Maryland Suite, Lobby Level.
The deadline for the new IAS Conference Grant for Modern Topics is February 15, 2016. Up to $1,000 will be provided to subsidize transoceanic travel to present in an IAS-sponsored session on the art, architecture, or visual culture of Italy from the early nineteenth century to the present.
Public Art Dialogue
Public Art Dialogue (PAD) is excited to announce two events at the 2016 CAA Annual Conference in Washington, DC. On Thursday, February 4, 6:00–8:00 PM, PAD will host a Public Art Salon and Award Reception in conjunction with Washington Project for the Arts (WPA) at the WPA gallery at 2124 8th Street NW. Local artists will show slides and talk about their public art projects in and around DC. At the event, Kirk Savage, professor of history of art and architecture at the University of Pittsburgh, will receive the 2016 PAD Award for Achievement in the Field of Public Art. On Friday, February 5, 5:30–7:00 PM, Savage will chair a roundtable, “Public Art: Process and Practice,” with Thomas Luebke of the US Commission of the Fine Arts and Lucy Kempf of the National Capital Planning Commission.
The Fall 2015 Public Art Dialogue (PAD) Newsletter has an interview by Marisa Lerer and Jennifer K. Favorite with Sarah Beetham on “Confederate Monuments and the Black Lives Matter Movement.” As Lerer and Favorite note: “Countries around the world, from Syria to Spain to Argentina, have grappled with the bronze and stone sculptural legacy of leaders who represent a dark chapter in their nation’s past.” This issue has a strong link PAD’s forthcoming journal issue, “The Dilemma of Public Art’s Permanence,” edited by Erika Doss. Also in the newsletter, Marisa Lerer has an essay “Public Art’s Role in International Biennials.” She considers the role of public-art practices in contemporary biennials and includes responses from curators, artists, and academics from Cuba, the United States, Ireland, and Canada. The guest editors of two special issues of PAD’s journal are seeking papers and artists’ projects for the topics “Borders and Boundaries” (coeditors: Cher Krause Knight and Harriet F. Senie; submission deadline: March 1, 2016); and “Higher Ed: College Campuses and Public Art” (editor: Monika Burczyk; submission deadline: September 1, 2016). For more information, go to the PAD website.
SECAC
The SECAC board and membership voted to change the name of the organization from the Southeastern College Art Conference to SECAC.
Awards presented at SECAC’s annual meeting, which took place October 22–24, 2015, in Pittsburgh, Pennsylvania, are:
- Excellence in Teaching: Debra Murphy, University of North Florida
- Excellence in Scholarly Research and Publication: Bibiana Obler, George Washington University
- Outstanding Artistic Achievement: Matthew Kolodziej, University of Akron
- Outstanding Exhibition and Catalogue of Contemporary Materials: Hannah Israel and Michele McCrillis, Columbus State University
- Outstanding Professional Achievement in Graphic Design: Jerry Johnson, Troy University; and Scott Fisk, Samford University
The President’s Awards are:
- Award for Exemplary Achievement: Michael Aurbach, Vanderbilt University
- Certificates of Merit: Thomas Brewer, University of Central Florida; Carol Crown, University of Memphis; and Virginia Derryberry, University of North Carolina, Asheville
The Juried Exhibition featured:
- First-place award: Michael Holsombeck, Chattanooga State Community College
- Second-place awards: Efram Burk of Curry College; and Sara Madandar, University of Texas at Austin
- $5,000 Artist’s Fellowship: Duane Paxson, Troy University
- $5,000 William R. Levin Award for Research in the History of Art: John Ott, James Madison University
Society of Architectural Historians
The Society of Architectural Historians (SAH) will hold its next annual international conference April 6–10, 2016, at the Pasadena Convention Center, 300 East Green Street, in Pasadena, California. Over seven hundred people from around the world will convene to share new research on the history of the built environment from antiquity to the critical present. “New Local/Global Infrastructures” is the theme of the 2016 Pasadena/Los Angeles conference, which includes forty-two sessions with papers, as well as roundtables, exhibits, talks, and public architecture tours. Regional sessions include “Los Angeles Infrastructure: Design, Aesthetics, Publics,” “Styles, Revival Styles, California Styles,” and “Reappraising California Counterculture.” Speakers include Eric Avila, professor of urban cultural history at the University of California, Los Angeles (UCLA), and Dana Cuff, UCLA architecture professor and director of the cityLAB research center. SAH will present “Surveying L.A.: Past, Present, Future,” a public seminar that will take an in-depth look at SurveyLA, the city’s comprehensive study of historic resources funded by the J. Paul Getty Trust and the City of Los Angeles. Panelists will discuss the local and global implications and applications of SurveyLA and its website, HistoricPlacesLA. Early registration ends February 3, 2016. View the complete program and register online.
Society of Historians of Eastern European, Eurasian, and Russian Art and Architecture
Following voting in December 2015, the Society of Historians of East European, Eurasian, and Russian Art and Architecture (SHERA) has elected Ksenia Nouril as its new secretary/treasurer for a two-year term, succeeding Yelena Kalinsky. In addition, Amy Bryzgel will replace Ksenya Gurshtein as the web news editor for a one-year term.
On December 11–12, several SHERA members participated in “The 100 Years of Suprematism Conference” at the Harriman Institute, organized by the Malevich Society. The conference proved to be an important international event, bringing together scholars from the United States, Europe, and the former Soviet Union. The program of the conference is available on the website of the Malevich Society.
At CAA’s Annual Conference in February 2016, SHERA will sponsor the following sessions: “Collecting, Curating, Canonizing, Critiquing: The Institutionalization of Eastern European Art,” chaired by Ksenia Nouril; and a double session led by Alison Hilton called “Exploring Native Traditions in the Arts of Eastern Europe and Russia.”
Support CAA with a Gift to the Annual Fund
posted by Nia Page — Dec 10, 2015
As a member of the College Art Association, you understand the importance of the work of CAA in service to the individuals and institutions that make up the world’s largest international professional community in the visual arts. The Association supports and enhances the field through advocacy efforts on important issues such as those impacting populations, like part-time faculty, and the protection of archaeological and historical sites in countries of conflict, to name a few; vital professional tools like CAA’s Standards and Guidelines; critical projects like the Code of Best Practices in Fair Use for the Visual Arts; prestigious publishing grants for books; career-development resources, including the Online Career Center; Professional-Development Fellowships; new scholarship published in The Art Bulletin, Art Journal, and caa.reviews; and CAA’s forum for exchange of creative work, scholarly research and critical issues in the field at the Annual Conference. None of this would be possible without the support of dedicated members like you.
With an ever-changing academic and museum landscape, CAA is responding to the evolving needs of its constituents. Many new member opportunities are being created, such as flexible and expanded Annual Conference programming, as well as new communication tools and platforms to further our dialogue beyond the conference. Even as CAA innovates, it continues its longstanding leadership in career development for early, mid, and senior level visual-arts professionals.
Today, I ask that you support CAA’s important work with a gift to the Annual Fund. Your contribution will enable us to continue providing invaluable resources and services to members like you. Voluntary support from individuals is critical to our collective advancement, and your contribution to the Annual Fund makes this possible. Your gift will benefit those who share your dedication to the visual arts.
Should you have given in the past, please know that your gift was very much appreciated. We hope you will continue your generosity at the same or even greater level. On behalf of the artists, art historians, collectors, critics, curators, designers, educators, and other professionals who make up CAA, I thank you for your dedication. Please give generously!
Sincerely,
John J. Richardson
VP for External Affairs and President-Elect
P.S. This year’s conference in Washington, DC February 3–6 will be one that you will not want to miss. I look forward to seeing you there.
Fall 2015 Recipients of the Millard Meiss Publication Fund
posted by Christopher Howard — Dec 01, 2015
This fall, CAA awarded grants to the publishers of seven books in art history and visual culture through the Millard Meiss Publication Fund. Thanks to the generous bequest of the late Prof. Millard Meiss, CAA gives these grants to support the publication of scholarly books in art history and related fields.
The seven Meiss grantees for fall 2015 are:
- Monica Amor, Theories of the Nonobject: Argentina, Brazil, Venezuela, 1944–1968, University of California Press
- Benjamin Anderson, Cosmos and Community in Early Medieval Art, Yale University Press
- Julia Bryan-Wilson, Fray: Art and Textile Politics since the 1970s, University of Chicago Press
- Ivan Drpic, Epigram, Art, and Devotion in Later Byzantium, Cambridge University Press
- Frances Guerin, The Truth Is Always Grey: Painting from Grisaille to Gerhard Richter, University of Minnesota Press
- Laura Kalba, Color in the Age of Impressionism: Commerce, Technology, and Art, Pennsylvania State University Press
- Yun Chiahn Sena, From Archaism to Antiquarianism: Antiquity in Song Culture, University of Washington Press
Books eligible for Meiss grants must already be under contract with a publisher and on a subject in the visual arts or art history. Authors must be current CAA members. Please review the application guidelines for more information.