CAA News Today
Kristen Lowe and Andrew Wykes
posted by CAA — Nov 25, 2019
The weekly CAA Conversations Podcast continues the vibrant discussions initiated at our Annual Conference. Listen in each week as educators explore arts and pedagogy, tackling everything from the day-to-day grind to the big, universal questions of the field.
CAA podcasts are on iTunes. Click here to subscribe.
This week, Kristen Lowe and Andrew Wykes discuss living and making in desperate times.
Kristen Lowe is a studio artist, filmmaker, and professor of art and art history at Gustavus Adolphus College. Her studio is located southwest of Minneapolis, Minnesota.
Professor Andrew Wykes teaches at Hamline University in Saint Paul, Minnesota. His teaching career spans 36 years. Andrew is a landscape painter who moved to the United States from the UK in 1995.
New in caa.reviews
posted by CAA — Nov 22, 2019
Emma Merkling reviews Modern Painters, Old Masters: The Art of Imitation from the Pre-Raphaelites to the First World War by Elizabeth Prettejohn. Read the full review at caa.reviews.
Tracy E. Cooper writes about Tintoretto: Artist of Renaissance Venice, an exhibition that showed in Venice and Washington, DC. Read the full review at caa.reviews.
Laura E. Parodi discusses From Stone to Paper: Architecture as History in the Late Mughal Empire by Chanchal B. Dadlani. Read the full review at caa.reviews.
Member Spotlight: Barbara Hoffman
posted by CAA — Nov 21, 2019
Up next in our Member Spotlight series, we are highlighting the work of Barbara Hoffman, founder and principal of The Hoffman Law Firm and a pioneer in the field of art law who served as CAA’s pro bono legal counsel for ten years. Joelle Te Paske, CAA’s media and content manager, spoke with Barbara over the phone to learn about her rich history with CAA. Read the interview, edited for length and clarity, below.
Image courtesy Barbara Hoffman.
Hi Barbara. I’m delighted to have the chance to speak with you. You are one of our esteemed lifetime members who has been a part of the organization in various capacities for more than 40 years. That’s incredible.
The pleasure is mine. I loved working with CAA during my tenure there.
Just looking over your bio on your website, I’m just amazed at how many different roles you’ve taken on over your career as an art lawyer. How did you first get involved with CAA?
I’ve always been interested in art, and I studied in Paris at the Académie Julian during my junior year when I majored in French and Art History. But I wasn’t very aware of the College Art Association.
After my studies, I was one of the early art lawyers. I had founded the Volunteer Lawyers for the Arts in the state of Washington, and continued to develop and write on the subject of art law, at a time when there were only a handful of people who were doing it.
Before then, I practiced civil rights law in New York. I’m from New York—I went to Columbia Law School—and was helping artists on the side when I was in my senior year. I volunteered as a lawyer for the first Volunteer Lawyers for the Arts in New York. I was then recruited to be a law professor in Seattle and I’d had so much fun with Volunteer Lawyers for the Arts that I thought I would join the Washington branch when I moved. When it didn’t exist, I ended up founding the statewide Washington Volunteer Lawyers for the Arts, and hosting an art law clinic at the law school.
Oh, interesting. So it started in New York and then you brought it over to the West Coast, in Washington.
Art Journal, Censorship I, Fall 1991, guest edited by Barbara Hoffman and Robert Storr
Yes. Then eventually I moved back to New York and I joined the New York City Bar Art Law Committee. I was also Chair of the Public Art Subcommittee. We drafted a balanced, annotated model contract to be made available to artists and administrators. Percent for Art was just starting, and most artists and bureaucrats had little knowledge of copyright and other issues in public art.
The National Endowment for the Arts put together a task force of artists and administrators in which I was invited to participate, alongside Joyce Kozloff, who was on the CAA Board of Directors at the time. Susan Ball was executive director at the time. There was a feminist uprising, and my name was put forward to replace Gil Edelson.
I was CAA’s pro bono outside counsel and member of the executive committee for ten years. Among many activities, I wrote a column for CAA on legal issues. My fondest memories are those of working with the different CAA committees and their chairs. Particularly memorable was the work I did with Albert E. Elsen, a professor of art history and a great scholar on Rodin. We revised the guidelines for the code of ethics for art historians. And I worked with several well-known artists too, many of whom are no longer with us.
I also advised all the CAA publications. This was an interesting time for the issues of fair use and copyright in images. Through me, CAA got involved in what was called the Conference on Fair Use, taking place under the US Patent and Trademark Office and the US Copyright Office, which dealt with bringing copyright law into the digital world.
Art Journal, Censorship II, Winter 1991, guest edited by Barbara Hoffman and Robert Storr
Before I came in to represent CAA, most of the people there were representing either libraries on one side, who were of course for fair use, or publishers, both trade book and academic publishers, who were of course for a stricter interpretation and enhanced copyright protection. But nobody was really talking about issues like images until we brought up to the subject.
On that issue I worked very hard, and CAA worked very hard. It was extremely controversial for the organization, because as you know, everybody at CAA wears multiple hats and the copyright issues involved both publishers and scholars. So I worked with the Copyright Committee and Fair Use and Christine L. Sundt, president of the Visual Resources Association and a member of CAA. She was a passionate devotee of legal issues there.
I imagine those are the fundamental building blocks for CAA’s Code of Best Practices in Fair Use that was published in 2015.
There are earlier versions of it, too. There was one during my tenure and then it evolved over time. We were never successful in terms of getting the government, the Conference on Fair Use, to be able to come together to develop official guidelines. I spent hours and hours and hours developing scenarios. We tried to get people’s agreement on the analysis and whether it was or wasn’t fair use. But at the end there was never a resolution of that and I think it continued on until 2015. It was a long-going effort. We were the first people to really address the whole issue in the late eighties, early nineties.
That’s fascinating. And especially now, with the emergence of the internet.
Another thing that we were really involved with during my tenure was the issue of freedom of expression. I represented CAA and was active in what we now call the Culture Wars, when Jesse Helms tried to ban the publication of [Robert] Mapplethorpe’s images. This was in 1989, and continued through the 1990s.
They were extremely active times. I’m most proud of the two-volume issue I did on censorship with Robert Storr for Art Journal. It was voted at the hundredth anniversary conference the best Art Journal that was published in the journal’s history.
To accompany this interview, we’ve brought the historic two-volume issue out from behind the paywall for readers to explore through the end of December 2019: Censorship I and Censorship II
For the double issue, I dedicated my statement to Justice Brennan of the Supreme Court. In my view, his decisions on the Supreme Court regarding the First Amendment and freedom of expression basically did more to provide contours of protection for artistic expression than any other Supreme Court Justice.
Then Rob Storr made his editor’s statement a full reprint of Mapplethorpe’s X Portfolio. He got permission from the Mapplethorpe Foundation because of his connections to publish them, but when we sent it to our normal printer, they were afraid to publish it because they thought they (or CAA) would be sued for pornography. They asked us to find a different printer. So we sent it around to all these places that might publish pornography. But the pornography magazines that we sent them to didn’t have the quality that we would require for the CAA journals! So we went to The Burlington Magazine and asked them if they would print it. It was much more expensive, but our usual printer paid the difference. So it was actually printed, by my recollection, by The Burlington Magazine.
There were two fall outs from the issue. The first fall out was a number of CAA members dropped their membership. Pretty amazing. They said the issue should have come with a warning label. You know, they got it in the mail, they left it on the table, and then their children saw it, with no warning.
Another spin off was because the CAA journal goes to every single university that’s a member for the library and art departments, the images that people had been talking about—but never saw—were suddenly available. As part of this I ended up participating in a panel at the University of Nashville, defending a professor who had brought that issue to his class of drawing and photography.
It was all a very meaningful experience. As a result, I was involved in authoring two friends of the court briefs, in the district court and the appellate court, on behalf of the College Art Association. Those were then quoted by the court defending Karen Finley and what they called the NEA Four [Karen Finley, Tim Miller, John Fleck, and Holly Hughes], who had their NEA grants declined because of the Helms amendment. So we introduced a friend of the court brief on behalf of College Art Association, and another one was on behalf of College Art Association and PEN America.
Later on, the organization’s centennial publication featured an image from Faith Ringgold’s French series that I licensed as her lawyer at the time. Faith was an active CAA member on the board and committee on diversity.
CAA’s centennial publication,The Eye, The Hand, the Mind: 100 Years of the College Art Association, with Faith Ringgold’s The Sunflower Quilting Bee at Arles (1996) on the cover.
The complexity of being an art lawyer—it brings you into so many different issues.
It was great. As I said, I worked with all the CAA Committees over that time. I still go to conferences from time to time and participate. And I just, you know, I’m happy to see so many artists that I’ve worked with being rewarded over time by the CAA. I’ve shown up for their presentations, the last ones being Howardena Pindell and Ursula von Rydingsvard for lifetime achievements.
Yes! Our 2019 honorees.
So I’m still keeping up and seeing how the organization has grown and changed. My legacy is these cases, my friends, and the guidelines. A wonderful opportunity for me to combine my passions—law and art history. As a member of the Executive Committee I attended all the CAA annual conferences, and when I wasn’t doing official business, I’d go to art history sessions. I have very happy memories of the wonderful people that I met there. I’m still in contact with many of them. That’s a part of my life that’s ongoing.
That’s wonderful.
And I’m still doing the same thing—still fighting for artists. Still fighting for the first amendment. Still doing public art. So, I feel very fortunate to be a life member.
Barbara Hoffman Biography
The Hoffman Law Firm continues as a preeminent global art and copyright boutique with a focus on Europe, Asia, Africa, and the United States. Author and editor of A Visual Artist’s Guide to Estate Planning (1996 and 2008), Barbara Hoffman also advises artists, galleries, and their estates on legacy planning, and endowed foundations.
Barbara has been recognized by her peers and clients with leadership posts and honor, including as Chair of the New York City Bar Association Committee on Art Law, Chair of the International Bar Association Committee on Art and Cultural Institutions and Heritage Law, and being selected to New York Super Lawyers, Best Lawyers in America, and Best Law Firms in art law and copyright law (2012-2020).
In addition to her service on the CAA executive committee, Barbara serves or has served on many boards, including ArtTable, Performa and the boards of several artists’ foundations. She was voted one of Art and Auction 51’s Power Women in the Art World 2016. www.hoffmanlaw.org
Meet the Meiss Fund Recipients for Fall 2019
posted by CAA — Nov 21, 2019
Carvings at the Kailāsanātha Temple in Kāñcīpuram. Photo by mckaysavage, CC BY 2.0
MEET THE GRANTEES
Twice a year, CAA awards grants through the Millard Meiss Publication Fund to support book-length scholarly manuscripts in the history of art, visual studies, and related subjects that have been accepted by a publisher on their merits, but cannot be published in the most desirable form without a subsidy.
Thanks to the generous bequest of the late Prof. Millard Meiss, CAA began awarding these publishing grants in 1975.
The Millard Meiss Publication Fund grantees for Fall 2019 are:
- Anneka Lenssen, Beautiful Agitation: Modern Painting in Syria and the Arab East, University of California Press
- Padma Kaimal, A Balance of Opposites: Reading Material Form at the Kailāsanātha Temple in Kāñcīpuram, University of Washington Press
- Babette Bohn, Women Artists, Their Patrons, and Their Publics in Early Modern Bologna, Penn State University Press
- Elina Gertsman, Nothing is the Matter: Spaces of Absence in Late Medieval Art, Penn State University Press
- Lucy Donkin, Standing on Holy Ground in the Middle Ages, Cornell University Press
- Adrian Anagnost, Spatial Orders, Social Forms: Art and City Space in Modern Brazil, 1928-69, Yale University Press
Read a list of all recipients of the Millard Meiss Publication Fund from 1975 to the present. The list is alphabetized by author’s last name and includes book titles and publishers.
BACKGROUND
Books eligible for a Meiss grant must currently be under contract with a publisher and be on a subject in the arts or art history. The deadlines for the receipt of applications are March 15 and September 15 of each year. Please review the Application Guidelines and the Application Process, Schedule, and Checklist for complete instructions.
CONTACT
Questions? Please contact Cali Buckley, Grants and Special Programs Manager, at cbuckley@collegeart.org.
Call for Submissions: CAA 2020 MFA Screening
posted by CAA — Nov 20, 2019
CAA’s Services to Artists Committee (SAC) invites MFA students to submit video work for consideration for the upcoming CAA 108th Annual Conference in Chicago in February 2020.
Selected works will be premiered during the conference in the Media Lounge on Wednesday, February 12, 12:15–1:45 PM, and screened during the conference at the ARTexchange exhibition, which will be presented at the Hokin Gallery at Columbia College (623 South Wabash), a half block north of the conference hotel.
Through this screening and exhibition initiative, SAC aims to welcome the next generation of artists and practitioners into our midst. Our annual MFA Screening celebrates the hard work of MFA students across the nation and world, while exposing their artworks to a broad audience. We look forward to reviewing your submissions.
Please use the form here or the button below to submit your entry (a maximum of three per participant).
Deadline: December 10, 2019
Submission for consideration is free, and membership with CAA is not required (we are collecting that information for statistical purposes).
Jurors: Joan Giroux, Richard Serrano, and Vagner Mendonça-Whitehead
Submissions should include the following:
- A short bio (50 words or less)
- A short artist statement (100 words or less)
- A link to 1–3 videos
- Personal website (optional)
Specifics for your submissions:
- 5 minutes in maximum length (excerpts accepted)
- mpeg 4
- 720p
- Slate/Title cards: 5 seconds, with your name, title of work, date of completion, name of school/program
- uploaded onto Vimeo.com (upload your link, allow it to be download-able)
Deadline: December 10, 2019
Acknowledgment: January 15, 2020
In collaboration with the Committee on Women in the Arts, CAA offers 50 percent of the 2020 conference’s content in celebration of the Centennial of Women’s Suffrage in the United States, 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 in 1920. The Services to Artists Committee encourages applicants to embrace the spirit of the 2020 conference by engaging issues of inclusivity and intersectional discourses in the arts.
About us: The Services to Artists Committee (SAC) was formed by the CAA Board of Directors to seek broader participation by artists and designers in the organization and the Annual Conference. SAC identifies and addresses concerns facing artists and designers; creates and implements programs and events at the conference and beyond; explores ways to encourage greater participation and leadership in CAA; and identifies ways to establish closer ties with other arts professionals and institutions. To this end, committee members are responsible for the programming of ARTspace and its related events.
News from the Art and Academic Worlds
posted by CAA — Nov 20, 2019
Flooding in Venice caused the mayor of the city to declare a state of emergency. Photo: Stefano Mazzola/Awakening/Getty Images, via Artsy
Venice’s Worst Floods in 50 Years Force Biennale to Close
The mayor has declared a state of emergency and said that the extreme flooding is due to climate change. (Artsy)
Interactive: Gendered Language in Teaching Evaluations
Developed by Ben Schmidt, clinical associate professor of history and director of digital humanities at New York University, this chart explores the words used to describe male and female teachers on Rate My Professors. (via Chronicle of Higher Ed)
Why Libraries Have a Public Spirit That Most Museums Lack
“A true public space is constantly negotiating knowledge or the lack of it, rather than presenting a position of expertise.” (Hyperallergic)
Baltimore Museum of Art Will Only Acquire Works from Women Next Year: ‘You Have to Do Something Radical’
Museum director Christopher Bedford announced last week that every artwork the BMA obtains for its permanent collection next year—whether through a purchase or donation—will have been created by a woman. (The Baltimore Sun)
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Meet the 2019 Wyeth Award Winners
posted by CAA — Nov 19, 2019
The Aztec Tonalpohualli Calendar, 1585, attributed to the 16th-century Mexican Jesuit Juan de Tovar. Image: Wikimedia Commons
Meet the Grantees
Since 2005, the Wyeth Foundation for American Art has supported the publication of books on American art through the Wyeth Foundation for American Art Publication Grant, administered by CAA. The 2019 grantees are:
- Lucy Bradnock, No More Masterpieces: Modern Art After Artaud, Yale University Press
- Elizabeth Ferrer, Critical Lens: A History of Latinx Photography, University of Washington Press
- Kimberly Beil, Good Pictures: A History of Popular Photography, Stanford University Press
- Elizabeth Boone, Descendants of Aztec Pictography: The Cultural Encyclopedias of Sixteenth Century Mexico, The University of Texas Press
Read a list of all recipients of the Wyeth Foundation for American Art Publication Grant from 2005 to the present.
BACKGROUND
For the Wyeth Foundation for American Art Publication Grant, “American art” is defined as art created in the United States, Canada, and Mexico. Eligible for the grant are book-length scholarly manuscripts in the history of American 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 deadline for the receipt of applications is September 15 of each year.
Guidelines
Process, Materials, and Checklist
CONTACT
Questions? Please contact Cali Buckley, Grants and Special Programs Manager, at cbuckley@collegeart.org.
Kerry Hustwit and Megan Griffiths
posted by CAA — Nov 18, 2019
The weekly CAA Conversations Podcast continues the vibrant discussions initiated at our Annual Conference. Listen in each week as educators explore arts and pedagogy, tackling everything from the day-to-day grind to the big, universal questions of the field.
CAA podcasts are on iTunes. Click here to subscribe.
This week, Kerry Hustwit and Megan Griffiths discuss “Educating the Future Filmmaker: Theory and Practice.”
Kerry Hustwit is a filmmaker and assistant professor of Communication and Digital Media at Neumann University.
Megan Griffiths is an award-winning writer/director working in film and television. She has directed shows for HBO, EPIX, TNT, and Netflix. Additionally, Megan has directed six feature films, among them Eden, which won the Emergent Narrative Director Award and the Audience Award for Narrative Feature at SXSW 2012.
New in caa.reviews
posted by CAA — Nov 15, 2019
Kathleen Christian reviews the compilation A Companion to Early Modern Rome, 1492–1692, edited by Pamela M. Jones, Barbara Wisch, and Simon Ditchfield. Read the full review at caa.reviews.
Claudia Swan writes about Netherlandish Art in Its Global Context, edited by Thijs Weststeijn, Eric Jorink, and Frits Scholten, and the exhibition and catalog Rembrandt and the Inspiration of India. Read the full review at caa.reviews.
Martha Scott Burton discusses three exhibitions that showed concurrently at McNay Art Museum, San Antonio: Transamerica/n: Gender, Identity, Appearance Today, Andy Warhol: Portraits, and TransSanAntonian: Examining Trans Identities and Gender Fluidity in the Archives. Read the full review at caa.reviews.
Meet the 2020 CAA-Getty International Program Participants
posted by CAA — Nov 14, 2019
We’re pleased to announce this year’s participants in the CAA-Getty International Program. Now in its ninth year, this international program supported by the Getty Foundation will bring fifteen new participants and five alumni to the 2020 Annual Conference in Chicago, Illinois.
The participants—professors of art history, curators, and artists who teach art history—hail from countries throughout the world, expanding CAA’s growing international membership and contributing to an increasingly diverse community of scholars and ideas. This year we are adding participants from four countries not included previously—Bolivia, Saudi Arabia, Côte d’Ivoire, and Singapore—bringing the total number of countries represented by the program to fifty. Selected by a jury of CAA members from a highly competitive group of applicants, the participants will receive funding for travel expenses, hotel accommodations, conference registration, CAA membership, and per diems for out-of-pocket expenditures.
At a one-day preconference colloquium, to be held this year at the School of the Art Institute of Chicago, the fifteen new participants will discuss key issues in the international study of art history together with five CAA-Getty alumni and several CAA members from the United States, who also will serve as hosts throughout the conference. The preconference program will delve deeper into subjects discussed during last year’s program, including such topics as postcolonial and Eurocentric legacies, interdisciplinary and transnational methodologies, and the intersection of politics and art history.
This is the third year that the program includes five alumni, who provide an intellectual link between previous convenings of the international program and this year’s events. They also serve as liaisons between CAA and the growing community of CAA-Getty alumni. In addition to serving as moderators for the preconference colloquium, the five alumni will present a new Global Conversation during the 2020 conference titled Things Aren’t Always as they Seem: Art History and the Politics of Vision.
The goal of the CAA-Getty International Program is to increase international participation in the organization’s activities, thereby expanding international networks and the exchange of ideas both during and after the conference. CAA currently includes members from sixty countries around the world. We look forward to welcoming the following participants at the next Annual Conference in Chicago.
2020 Participants in the CAA-Getty International Program
Irene Bronner is a senior lecturer with the South African Research Chair in South African Art History and Visual Culture, Faculty of Art, Design and Architecture, University of Johannesburg, South Africa. Her doctorate (DLitt et Phil), titled “Representations of Domestic Workers in Post-apartheid South African Art Practice,” was conferred by the University of Johannesburg in 2016. She then held a three-year postdoctoral research fellowship with the same institution, during which time she received a Postdoctoral Research Fellows’ Excellence Award. Her research interests center on feminist studies in the visual arts, with a focus on contemporary southern Africa. She works principally with feminist, queer and postcolonial cultural theory as well as issues of memory, affect, gender, and the aftermath of trauma. She has published in local and international journals, recently in Woman’s Art Journal and Textile: Journal of Cloth and Culture.
Eiman Elgibreen is an artist and an assistant professor of art history at the Princess Nourah bint Abdulrahman University in Riyadh, Saudi Arabia. She obtained a PhD in art history from the University of Sussex (UK) for her research on “Image Making: Representations of Women in the Art and Career of Safeya Binzagr 1968-2000.” Since 2011 Elgibreen has also been a freelance writer for Al-Riyadh Daily Newspaper and Al-Jazirah Daily Newspaper, and an art consultant for organizations that are concerned with preserving the legacy of Saudi pioneer artists such as Darat Safeya Binzagr (a museum devoted to the artist’s work), and Saudi Arts House (a family foundation devoted to the work of Mohammed Alsaleem). In addition, she has curated a number of art exhibitions, including the Saudi National Pavilion at the 58th Venice Biennale, 2019. Elgibreen is interested in exploring the forgotten and/or misrepresented aspects of Saudi and Arab culture through her research and her art. A goal of her work is to encourage acceptance of cultural differences.
Dária G. Jaremtchuk is an associate professor of art history at the Universidade de São Paulo, Brazil, where she teaches undergraduate and graduate courses on contemporary art. As Fulbright Brazil Distinguished Chair at Emory University in 2019, she taught a course in the art history department about Brazilian contemporary visual arts. In 2018, she was a visiting scholar at Georgetown University and at Brown University in 2011. In 2010, she edited the book Arte e política: situações (Art and politics: situations) (Alameda Editora) and in 2007 she published Anna Bella Geiger: Passagens Conceituais (Anna Bella Geiger: conceptual passages) (C/Arte and Editora da Universidade de São Paulo). She is currently researching the relocation of Brazilian artists during the Brazilian military dictatorship of the 1960s and 70s and the artistic exchange between Brazil and the United States at that time. She has published on this topic in journals, conference proceedings, and book chapters.
Ganiyu Jimoh received a PhD in art history from the University of Lagos, Nigeria, where he is also a lecturer. He is currently a postdoctoral fellow with the Arts of Africa and Global Souths research program in the Department of Fine Art at Rhodes University in South Africa. His research, which focuses on contemporary art, new media, satire, and cartoons has attracted major awards, including the prestigious University of Lagos Best Researcher Award in Arts and Humanities in 2011. In 2015 he received a grant to conduct research for his PhD dissertation at the African Studies Center at Michigan State University. Jimoh is also a recipient of the 2019 African Studies Association Presidential fellowship. As a scholarly writer who is also a practicing political cartoonist, Jimga (his cartoon signature) has several local and international exhibitions to his credit and currently serves as the secretary of Cartoonists Association of Nigeria (CARTAN).
Mariana Levytska is a research associate in the Department of Art Studies of the Ethnology Institute at the National Academy of Sciences of Ukraine in Lviv. She received a PhD in the history of art from the Lviv National Academy of Arts in 2003. Based on her thesis, she published a monograph about Ukrainian portrait painting as an artistic and memorial phenomenon of the long nineteenth century. In addition, she has worked as a senior lecturer from 2005–14 and associate professor in 2015 at the Department of Architectural Environment Design in the Faculty of Architecture of the Lviv National Agricultural University. Levytska’s current area of research is Ukrainian religious art of the eighteenth century (late Baroque-Rococo period), focusing on the concept of cultural transfer according to “peripatetic works of art (such as engravings and albums)” as well as peripatetic artists. She is also interested in issues of Ukrainian historiography of the art of the twentieth century.
Daniela Lucena holds a PhD in social sciences from the University of Buenos Aires (UBA) and specialize in the sociology of art and culture. A researcher at the National Scientific and Technical Research Council (CONICET) in Buenos Aires, she teaches sociology of art courses at UBA, where she is also head of a research team. Since 2003 she has studied various aesthetical projects where art, culture, and politics are intertwined. Her books include Contaminación artística. Arte concreto, comunismo y peronismo en los años 40 (Artistic contamination: concret avant-garde, communism and Peronism in the 40s) (Biblios, 2015) and Modo mata moda. Arte, cuerpo y (micro)política en los 80 (Form kills fashion: art, body and [micro]politics in the 80s), coauthored with Gisela Laboureau, (EDULP, 2016). In addition to her work as researcher, since 2007 she has collaborated with PH15, a foundation that organizes photography workshops for children of vulnerable populations, assessing programs and community work linked to art.
Ali Mahfouz is the director of the Mansoura Storage Museum, part of the Ministry of Egyptian Antiquities. He received a BA in 2010 and an MA in Egyptology in 2017, both from Mansoura University. He is currently working on his PhD. Mahfouz began working as an inspector of antiquities at the Ministry of Antiquities in 2012. In August 2015 he was appointed the supervisor of the Mansoura Storage Museum and in October 2018 he became its director. With colleagues, Mahfouz founded Save Mansoura, a volunteer organization dedicated to raising public awareness about the value of cultural heritage and the restoration of historic sites. He is also the cofounder of the Documentation of Architectural and Urban Heritage of Mansoura City Project, which aims to document, digitize, and archive that city’s cultural history. His greatest concern is the fate of archaeological sites damaged or destroyed because of political conflicts and the need to preserve his country’s cultural heritage in the wake of that destruction.
Priya Maholay-Jaradi is the founding convenor of a new art history academic program, a collaboration between the National University of Singapore (NUS) and the National Gallery Singapore. She earned an MA in art history from the School of Oriental and African Studies, London (2001); a PhD from NUS (2012), and a postdoctoral fellowship at the International Institute for Asian Studies, Leiden (2013). A former curator at the Asian Civilizations Museum, Singapore, she has curated Portrait of a Community (National Gallery of Modern Art, Mumbai, 2002), Beauty in Asia (Asian Civilizations Museum, Singapore, 2007) and Tautology of Memory (NUS Museum, Singapore, 2012). Jaradi’s monograph, Fashioning a National Art: Baroda’s Royal Collection and Institutions (1875-1924) (Oxford University Press, 2016), mobilizes provincial archives to reveal links between princely modernities and nationalisms in South Asia. She is the volume editor of Baroda: A Cosmopolitan Provenance in Transition (Marg Foundation, 2015). Her current research examines India-Singapore museological imaginations within the context of cold war diplomacy, the Non-Aligned Movement, and decolonization.
Valeria Paz Moscoso specializes in modern and contemporary Bolivian art history. She is the academic coordinator and advisor in the Department of Culture at the Universidad Católica Boliviana (La Paz), where she is also a temporary lecturer and editor of the journal Ciencia y Cultura (Science and culture). Her PhD dissertation examined the concept of repression and emancipation in the work of Bolivian artist Roberto Valcárcel. Currently, she is researching the disruption of the narrative of Indigenism in contemporary art. Additional research interests include gender, humor, critical theory, postcolonial studies, and arts-based research. She has curated exhibitions in Bolivia and the United Kingdom, and published in journals such as ESCALA Research Papers, Ciencia y Cultura, Bisagra (Hinge), Terremoto (Earthquake), and in the books Corrosión y Anomalía: escenas del arte contemporáneo boliviano (Corrosion and anomaly: scenes from contemporary Bolivian art) (2019) and Bolivia: Los caminos de la escultura (Bolivia: the paths of sculpture) (2009), a publication selected for the Bicentennial Library of Bolivia.
Daria Panaiotti is a photography curator and research associate in the Contemporary Art Department of the State Hermitage Museum, St. Petersburg, Russia. She graduated with honors from the European University in St. Petersburg (EUSPB), where she is currently completing her PhD with a dissertation on the history of Soviet documentary photography in Brezhnev’s era. She is also a member of the program committee of the After Post-Photography international conference, the only annual conference on photographic theory and history in Russia. Previously she was involved in the project In Support of Photography in Russia, funded by the IRIS Foundation, Moscow, where she was a member of the curatorial team that organized exhibitions of Russian photography for FotoFest 2012—an international photography festival held every two years in Houston, Texas—and where she also participated in an international portfolio review for Russian photographers at the Garage Center for Contemporary Culture in Moscow in 2011.
Aleksandra Paradowska is a lecturer and researcher in the Department of Art History and Philosophy, Faculty of Art Education and Curatorial Studies, at the University of Fine Arts in Poznań, Poland. After receiving a PhD from the Adam Mickiewicz University in Poznań in 2013, she was a postdoctoral fellow at the University of Wrocław from 2014–17. Her research focuses on architectural history of the nineteenth and twentieth centuries, especially the relationship between architecture and politics. For the past five years she has studied Nazi architecture in Polish territories during the Second World War in relation to different perspectives of the humanities, that is, interdisciplinary views of postcolonial and heritage studies. Paradowska has published widely on Polish interwar architecture and received several scholarships: from DAAD (Deutscher Akademischer Austauschdienst) in 2010, START by the Foundation for Polish Science in 2014, and a scholarship for leading young researchers in Poland by the Ministry of Science and Higher Education in 2017–19.
Saurabh Tewari received a BArch in 2008 from the Sushant School of Art and Architecture, Gurgaon/GGSIP University, Delhi (India), and a MDes in 2010 from the Industrial Design Center, Indian Institute of Technology Bombay. As a doctoral candidate in the Design Program at the Indian Institute of Technology Kanpur, he is attempting to map out and understand the shifting role of design in postcolonial India within the broader narrative of national development. Currently an assistant professor of design in the School of Planning and Architecture in Bhopal, Tewari has developed a curriculum that includes design history, design culture, and design studies. Ultimately, his goal is to develop South Asia’s first postgraduate program in design history and studies. He views his role in two ways: as a design historian in South Asia exploring and constructing scholarly approaches to design history, and as a South Asian scholar in the design history community voicing the potential of decolonized approaches to the field.
Giuliana Vidarte received a BA in Latin American literature and an MA in art history from the Pontificia Universidad Católica del Perú. In 2013 she was part of a curatorial intensive course in Northern Ireland organized by Independent Curators International (New York). In 2014 she received a travel grant to participate in the annual meeting of the International Committee for Museums and Collections of Modern Art (CIMAM) in Qatar. Between 2015–18, she was the curator of Bufeo: Amazonía+Arte, a project for the research and dissemination of Amazonian art. Vidarte has developed exhibition projects about the relationship between visual arts and literature, the rewriting of history based on the recovery of unofficial discourses, and artistic production in the Peruvian Amazon. Currently, she is chief curator and head of exhibitions at the Museo de Arte Contemporáneo in Lima (MAC Lima) and curatorial assistant for the Peruvian pavilion at the 58th Venice Biennale in 2019.
Julia Waite is the curator of New Zealand art at the Auckland Art Gallery Toi o Tāmaki, New Zealand’s largest art museum. She has worked on a number of large-scale exhibitions including the fifth Auckland triennial, If you were to live here . . . (2013) and Space to Dream: Recent Art from South America (2016). Her research interests are focused on the development of modern art in New Zealand and its connections with other peripheral modernisms. In 2015 she curated the exhibition Freedom and Structure: Cubism and New Zealand Art 1930–1960, which toured throughout New Zealand, and published an associated catalogue. She cocurated the major survey of New Zealand’s preeminent abstract painter Gordon Walters: New Vision, which opened at Auckland Art Gallery in 2018. Most recently, Waite has cocurated Louise Henderson: From Life, the first comprehensive retrospective of French-born New Zealand artist Louise Henderson. She has an MA in art history (First Class) and an MA in museum and heritage studies.
Jean-Arsène Yao received a PhD in Latin American history from the Universidad de Alcalá (Spain) in 2002. His scholarship focuses on teaching Spanish in the African Diaspora, particularly with blacks in Argentina. Currently professor of Latin America and Caribbean studies at the Université Félix Houphouët-Boigny (Côte d’Ivoire) and visiting professor at the Universidad de Alcalá and the Universidad de Granada (Spain), his teaching interests include Hispanic American culture and civilization; race, class, and ethnicity in Latin America; and Afro-Hispanic history. He has a special interest in the visual representation of people of African descent in art history and visual studies. Yao has conducted research in Argentina, Colombia, Cuba, Ecuador, and Uruguay. He has published widely, including five books, several book chapters, and over twenty articles in juried journals of research. Since 2016 he has been the founder-coordinator of the Group of Latin American Studies and Research (https://grelat-ufhb.org/).
Participating Alumni
Abiodun Akande is a senior lecturer at the University of Lagos, Nigeria, where he teaches painting, art education, and art history. Akande earned a BA in fine arts from the Obafemi Awolowo University and received an MA and PhD in the visual arts of Africa from the Institute of African Studies, University of Ibadan, Nigeria. In 2013, he participated in the first Basel Summer School in African Studies at the University of Basel in Switzerland; he also attended a graduate symposium hosted by the School of Arts at Peking University in Beijing, China. Akande first participated in the CAA-Getty International Program in 2016 and returned the following year to participate in the 2017 CAA-Getty reunion program. His current research focuses on knowledge systems in the art and cultural practices of indigenous communities in Nigeria. A recent publication, “Ará òrun kìn-ìn kin-in: Òyó-Yòrùbá egúngún Masquerade in Communion and Maintenance of Ontological Balance,” (Genealogy, 3(1), 7, 2019) explores the Yòrùbá belief in life after death, and how the powers and spirits of the deceased are harnessed for the benefit of the living.
Pedith Chan is an assistant professor of Cultural Management in the Faculty of Arts at the Chinese University of Hong Kong. She received her PhD in Art and Archaeology from SOAS, University of London. Before joining the Chinese University of Hong Kong Chan was an assistant curator at the Hong Kong Museum of Art, and an assistant professor at the City University of Hong Kong. Her research interests focus on the production and consumption of art and cultural heritage in modern and contemporary China. Recent publications include The Making of a Modern Art World: Institutionalization and Legitimization of Guohua in Republican Shanghai (Leiden: Brill, 2017), “Representation of Chinese Civilization: Exhibiting Chinese Art in Republican China,” in The Future of Museum and Gallery Design (London: Routledge, 2018), and “In Search of the Southeast: Tourism, Nationalism, Scenic Landscape in Republican China,” (Twentieth-Century China, 2018). She is currently researching the making of scenic sites in modern China. Chan was a participant in the 2019 CAA-Getty International Program.
Iro Katsaridou has been the curator of modern and contemporary art at the Museum of Byzantine Culture in Thessaloniki, Greece since 2005. She studied art history at the Aristotle University of Thessaloniki and the Université Paris I-Sorbonne, and also pursued museum studies at the City University of New York. Her doctoral dissertation focused on contemporary Greek photography (Aristotle University, 2010). For the past six years Katsaridou has been researching photography and art in World War I and II, during which time she has curated exhibitions on the subject and edited related catalogues. For the last four years she has been teaching as an adjunct faculty member at several Greek universities. She has co-edited two books about photography during the Nazi Occupation of Greece (1941-1944) and written articles and book chapters on photography, exhibition display policies, as well as the relationship between contemporary Greek art and politics. In 2019, she participated in the CAA-Getty International Program.
Cristian Nae is an associate professor at the George Enescu National University of Arts in Iași, Romania, where he teaches courses on contemporary art history, critical theory, visual and exhibition studies. He has benefited from scholarships and research grants from the Erste Foundation (Vienna), National Research Council, Romania (CNCS-UEFISCDI) , the CAA-Getty International Program, the Getty Foundation (Los Angeles), and New Europe College (Bucharest). His latest studies have appeared in collective volumes published by Wiley-Blackwell (2019, forthcoming) and Routledge (2018). Nae is the co-editor of Rethinking the Image of the World: Projects and Sketches. Contemporary Romanian Art 2010-2020 (Hatje Cantz, 2019, forthcoming). As a curator, he is the co-organizer of the exhibition Rethinking the Image of the World: Projects and Sketches (Musée Mill, La Louvrière, Belgium, 2019), which was part of the Europalia Arts Festival. Nae also curated Unfinished Conversations on the Weight of Absence, the exhibition marking Romania’s participation in the 58th Venice Biennale (2019). Nae participated in the first year of the CAA-Getty International Program, in 2012.
Nóra Veszprémi is a research associate for the European Research Council-funded project Continuity/Rupture: Art and Architecture in Central Europe 1918–1939 (CRAACE) at Masaryk University, Brno (Czech Republic). She is also an honorary research fellow at the University of Birmingham (UK), where she recently completed a project on museums in Austria-Hungary between 1867 and 1918. In 2014–15 she taught at the Institute of Art History at Eötvös Loránd University, Budapest (Hungary), where she also received her PhD in 2013. Veszprémi specializes in nineteenth- and early-twentieth-century Central European art. A former curator at the Hungarian National Gallery, she is the author of a monograph on romanticism and popular taste in mid-nineteenth century Hungary (in Hungarian) and co-author (with Matthew Rampley and Markian Prokopovych) of two forthcoming volumes on museums in Austria-Hungary: An Empire on Display: The Art Galleries and Museums of Austria-Hungary (Penn State University Press, 2020); and Liberalism, Nationalism and Design Reform in the Habsburg Empire: Museums of Design, Industry and the Applied Arts (Routledge, 2020). She is currently working on a monograph about historical memory in Central Europe after the collapse of the Habsburg Empire. Veszprémi was a 2015 participant in the CAA-Getty International Program.