CAA News Today
Emil Robinson and Squeak Carnwath
posted by CAA — Jan 28, 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 now on iTunes. Click here to subscribe.
This week, Emil Robinson and Squeak Carnwath discuss trust and voice in the studio, and how they approach teaching painting.
Emil Robinson is Assistant Professor in the School of Design at the University of Cincinnati.
Squeak Carnwath is an artist who maintains a studio in Oakland, California, and is a Professor Emerita from UC Berkeley.
New in caa.reviews
posted by CAA — Jan 25, 2019
Catherine Puglisi discusses Rencontres à Venise: Étrangers et Vénitiens dans l’art du XVIIe siècle, edited by Linda Borean and Stefania Mason Rinaldi. Read the full review at caa.reviews.
Meet the 2019 Student Scholarship Winners
posted by CAA — Jan 25, 2019
with support from
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For the third year in a row, CAA is proud to partner with our sponsors, multinational publisher, Routledge, Taylor & Francis, and art materials specialist, Blick Art Materials, on student scholarships to assist CAA student members with conference costs.
Routledge, Taylor & Francis Student Scholarship
CAA Annual Conference Premier Sponsor, Routledge, Taylor & Francis supports four CAA student members with a $250 scholarship. The 2019 winners are:
Jonathan Anderson
Jonathan Anderson is an artist and art critic, and is currently working on a PhD at King’s College London. His research focuses on modern and contemporary art, with a particular emphasis on its relations to religion and theology. He is the coauthor of the book Modern Art and the Life of a Culture: The Religious Impulses of Modernism (2016), and he has contributed to various books and journals, including essays on John Cage, Francis Alÿs, Kris Martin, Rachel Whiteread, and others.
Noni Brynjolson
Noni Brynjolson is a PhD Candidate in Art History, Theory & Criticism at the University of California, San Diego. Her research analyzes socially engaged art projects in US cities. She is interested in looking at how artists address the politics of housing and gentrification through their work, as well as the informal communities that emerge within these projects. Noni is a member of the editorial collective of FIELD: A Journal of Socially Engaged Art Criticism, and her writing has been published in FIELD as well as in Hyperallergic, Akimbo, Geist and Craft Journal. She has also published chapters in two edited books: “From Mentorship to Collaboration: Art, Feminism and Community in Winnipeg” (in Desire Change: Contemporary Feminist Art in Canada, McGill Queen’s University Press, 2017), and “The Making of Many Hands: Artisanal Production and Neighbourhood Redevelopment in Contemporary Socially Engaged Art” (in Craft on Demand: The New Politics of the Handmade, I.B. Tauris, forthcoming 2019). Noni’s dissertation research was supported by a SSHRC doctoral fellowship, and she is currently a graduate fellow at UC San Diego’s International Institute as part of the 2018-19 Sawyer Seminar focused on the theme of ‘Reclaiming the City.’
Anton Lee
Anton Lee teaches in the Department of Art History, Visual Art and Theory at the University of British Columbia, Vancouver BC, where he completed his doctorate in November 2018. A specialist in the history and theory of photography, his work focuses on the contested understandings of the medium’s identities in European and Anglo-American countries from the early 20th century to the present. His current research prioritizes transforming his doctoral dissertation into a book, provisionally titled Nouvelle Photographie Amériaine: The Rise of Photographic Sequence in the United States and France, 1968–1989. Lee was the Kenneth J. Botto Research Fellow at the Center for Creative Photography in Tucson in 2016 and a Visiting Researcher at the Université Paris-Sorbonne in 2015.
Candace Smith
Candace Smith currently studies Art History at the University of North Texas where she is working towards an MA under Dr. Nada Shabout in the field of Modern and Contemporary Art of the Middle East. Her current research explores issues of power, identity politics, and built space in the context of postwar Lebanese Art institutions and reconstruction (1990-present). Smith has presented and lectured on politics, power, and space, both as a university level and at the Texas Sculpture Symposium with NY-based artist Wafaa Bilal. She has also spent time abroad meeting and working directly with some of Beirut’s most prominent art collectors and foundations as well as emerging Beirut-based artists such as Hiba Kalache. Smith received a BA from Texas Tech University after completing undergraduate thesis work on 21st-Century street art created during times of conflict in central Cairo and the West Bank. Working directly with published photojournalists and prominent, local artists, Smith addressed local agency and perceptions of space in direct contrast with American and European activity in the area. Smith was the director of social media for AMCA and collaborated with Selections Magazine on their Winter 2018 Art Pages.
Blick Art Materials Student Scholarship
CAA Annual Conference Supporter Sponsor, Blick Art Materials supports four CAA student members with a $250 scholarship. The 2019 winners are:
Margot Bernstein
Margot Bernstein is an advanced PhD candidate at Columbia University with a specialization in eighteenth-century art and material culture. Her dissertation, “Carmontelle’s Profile Pictures and the Things that Made Them Modern,” examines hundreds of portraits on paper by Louis Carrogis called Carmontelle (1717-1806), a French amateur draftsman. Margot holds a BA (2010) in art history and history from Williams College and an MA (2012) in the History of Art from the Courtauld Institute of Art. She also holds an MA (2014) and an MPhil (2015) in art history from Columbia University. In recent years, she has worked at the Metropolitan Museum of Art, the Frick Collection, the Morgan Library & Museum, the New-York Historical Society, the Calder Foundation, and the Williams College Museum of Art. Currently, Margot is a Chester Dale Fellow in the Department of Drawings and Prints at the Metropolitan Museum of Art.
Jessica Crocker
Jessica Rae Crocker lives and works in Prescott, AZ. She is currently pursuing her PhD in Philosophy, Aesthetics, and Art Theory through IDSVA (Institute for Doctoral Studies in the Visual Arts). She is a ceramic artist focusing on the role of craft as a means to develop intimacy. Her recent work explores relationships and limerence through the use of imbedded interactive technologies. She works in both figurative and functional paradigms embracing the historical symbolism of the clay material in its many forms. This generous gift is allowing her to attend the CAA conference for the first time.
Kimberly Minor
Kimberly Minor is a doctoral candidate in Art History at the University of Oklahoma. Her research broadly focuses on American art, with interests in material culture, art of the early American West, and Northern Plains Indian drawings. Her dissertation “Pictographic Motifs: Memory and Masculinity on the Upper Missouri” engages the visual, material, and experiential sources of military imagery produced by the Mandan and Hidatsa during the early nineteenth-century. She studies how indigenous male identity was negotiated through constant confrontation (both physical and spiritual) with war and warriors, adding to a growing body of scholarship that emphasizes and affirms the importance of indigenous histories. Her research has been supported by the Smithsonian Institute of Museum Anthropology and the ACLS/Luce Dissertation Fellowship in American Art.
Laura Stowell
Laura Stowell is a third-year PhD Student in Art History at the University of Washington, Seattle. She received her MA in Contemporary Art from Sotheby’s Institute of Art, New York. Her research explores intersections of performance, affect, aesthetics, and trauma in art from 1945 to the present, with specific emphasis on feminist approaches to the body. In 2018 she presented a paper titled “Listening to the Body in Pain: Regina José Galindo’s (279) Golpes” at UC San Diego’s Graduate Visual Arts Symposium, and a paper titled “Pathography and the work of Alina Szapocznikow” at the Legacies of the Enlightenment Workshop at Michigan State University. She worked as the Curatorial Assistant at the Henry Art Gallery, Seattle, and plans on continuing to work in the curatorial field.
Criteria for the Scholarship
Awardees were chosen at random and fulfilled the following criteria:
- Individuals were registered for the Annual Conference by the Early Registration deadline
- Individuals are current CAA members with proof of student status
- Individuals did not receive conference registration or travel reimbursement from their institution or employer
We look forward to seeing you in New York City next month! The 107th Annual Conference is February 13-16, 2019. Click here to explore the conference program.
Submit Your Work to ARTexchange at CAA 2019
posted by CAA — Jan 23, 2019
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Artist Joanne Tarlin presents her work at ARTexchange at the 2018 CAA Annual Conference in Los Angeles. Photo: Rafael Cardenas
The Services to Artists Committee invites artist members to submit work to ARTexchange, CAA’s pop-up exhibition and annual social event for artists and curators. This event provides an opportunity for artists to share their work and build affinities with other artists, historians, curators, and cultural producers. ARTexchange will take place Friday evening, February 15, 2019, from 5:30–7:30 PM, and is free and open to the public.
Participating CAA members will be given space to share their work on, above and beneath a six-foot table. Artwork cannot be hung on walls, and it is not possible to run power cords devices. Participants are responsible for their own work. Sales of work are not permitted. Performance, process-based, interactive, and participatory works are especially encouraged.
Please be sure to provide all of the following information in order to complete your submission:
- A short biography or artist statement. (150 words max)
- A description of what you will exhibit and how you will use the space. Please include any details regarding performance, sound, spoken word, or technology-based work, laptop/tablet digital or media presentations. (250 words max)
- Your CAA member number (memberships must be valid).
- A link to a website of your work or 5-10 images of your recent work, including: title, year, medium and dimensions. (Maximum image size 5 mb of 1500pixels largest size and sent as JPG)
Submissions to ARTexchange can be and sent by email to Julie Hughes (artexchangeCAA@gmail.com) with “ARTexchange” and your last name in the subject line.
Deadline to submit: February 1, 2019
News from the Art and Academic Worlds
posted by CAA — Jan 23, 2019
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Artist Zilia Sánchez pictured with her work Lunar blanco (1964). Soy Isla, Sánchez’s first museum retrospective in the US, will be on view at The Phillips Collection from February 16 – May 19, 2019. See more via Remezcla.
‘We’re All in Freefall’: Museum Workers Scramble for Cash Amid the Longest US Government Shutdown in History
As the shutdown enters its fourth week, all federal museums, including the National Gallery of Art and 19 Smithsonian museums, remain closed. (artnet News)
$4 Million Grant Will Promote Board Diversity at Museums
The Ford, Andrew W. Mellon, and Alice L. Walton foundations are hoping to change the statistic that 46% of American museums have all-white boards of directors. (Chronicle of Philanthropy)
Students in Rural America Ask, ‘What Is a University Without a History Major?’
Critics warn that administrators are risking the essence of a four-year college experience. (New York Times)
The Most Exciting Latino Art & Culture Exhibitions Happening in the First Half of 2019
Explore highly-anticipated art exhibitions that will honor the work of Latinx and Latin American artists. (Remezcla)
Why the New Museum’s Union Reckoning Reflects a Much Bigger Problem
Staffers at the New Museum have taken steps to unionize—and management has taken steps to impede them. (artnet News)
How to Teach a Good First Day of Class
“We do not teach brains on sticks. We teach human beings who are inspired by wonder, driven toward community, beset by fears and anxieties, and influenced in countless other ways by aspects of their lives beyond the purely cognitive.” (Chronicle of Higher Ed)
Rachel Clarke and Peter Williams
posted by CAA — Jan 21, 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 now on iTunes. Click here to subscribe.
This week, Rachel Clarke and Peter Williams discuss interdisciplinary and community-involved curriculum.
Rachel Clarke is professor of New Media Art at California State University, Sacramento. Her work intertwines themes of nature, culture, and technology; combining physical and virtual modes of making.
Peter Williams is a new media artist specializing in interactive installation, and an assistant professor at California State University, Sacramento.
New in caa.reviews
posted by CAA — Jan 18, 2019
Marnin Young reviews Misère: The Visual Representation of Misery in the 19th Century by Linda Nochlin. Read the full review at caa.reviews.
Joseph Hammond writes about Louvre Abu Dhabi by Jean-François Charnier, and From One Louvre to Another: Opening a Museum for Everyone by Jean-Luc Martinez and Juliette Trey. Read the full review at caa.reviews.
Marta Gutman explores The Roots of Urban Renaissance: Gentrification and the Struggle over Harlem by Brian D. Goldstein, and An Architecture of Education: African American Women Design the New South by Angel David Nieves. Read the full review at caa.reviews.
Nikki Moore looks at From the Page to the Street: Latin American Conceptualism at the Blanton Museum of Art. Read the full review at caa.reviews.
Marin R. Sullivan writes about Sculpture Vertical, Horizontal, Closed, Open by Penelope Curtis. Read the full review at caa.reviews.
Join the Jury for the Art History Special Exhibition Travel Fund
posted by CAA — Jan 17, 2019
![](https://www.collegeart.org/news/wp-content//CAAday3-47-1-300x200.jpg)
Attendee at 2018 CAA Annual Conference in Los Angeles. Photo: Rafael Cardenas
The Art History Special Exhibition Travel Fund jury is looking for members.
The deadline is January 31, 2019.
In August, we announced that CAA received a major anonymous gift of $1 million to fund travel for art history faculty and their students to special exhibitions related to their classwork. The fund is designed to award up to $10,000 to qualifying undergraduate and graduate art history classes to cover students’ and instructors’ costs (travel, accommodations, and admissions fees) associated with attending museum special exhibitions throughout the United States and worldwide. The purpose of the grants is to enhance students’ first-hand knowledge of original works of art.
Jury members will review applications in February 2019 and confer by conference call or in person if necessary. After staggering jury cycles are established, jurors serve for a three-year term.
Jury members are comprised of art historians and a museum curator. Candidates must be CAA members and should not currently serve on another CAA editorial board or committee. CAA’s president appoints jury members for service. Jury members may not themselves apply for a grant in this program during their term of service. Members shall be entitled to a nominal honorarium in recognition of their service.
Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome.
Please send a letter describing your interest in and qualifications for appointment, along with a CV (two pages maximum) to Cali Buckley, Grants and Special Programs Manager, at cbuckley@collegeart.org.
Announcing the 2019 Awards for Distinction Recipients
posted by CAA — Jan 17, 2019
Honorees this year include Howardena Pindell, Ursula von Rydingsvard, Anna C. Chave, Senga Nengudi, Nancy S. Steinhardt, Edward Sullivan, Molly Nesbit, and many other scholars, artists, authors, and teachers
CAA Annual Conference, New York City, February 13-16, 2019
CAA is pleased to announce the recipients and finalists of the 2019 Awards for Distinction. Awardees this year were chosen from a pool of scholars, artists, teachers, and authors who are constantly pushing our understanding of the visual arts. The CAA Awards for Distinction are presented during Convocation at the CAA Annual Conference on Wednesday, February 13 at 6:00 PM at the New York Hilton Midtown. The CAA Annual Conference runs from February 13-16, 2019.
![](https://www.collegeart.org/news/wp-content//Howardena-Pindell_crop_web-300x240.jpg)
Howardena Pindell. Courtesy the artist and Garth Greenan Gallery.
Among the winners this year is Howardena Pindell, recipient of the 2019 Distinguished Artist Award for Lifetime Achievement. Pindell studied painting at Boston University and received her MFA from Yale University. Since 1979, she has been a professor of painting and conceptual drawing at SUNY Stony Brook University. Pindell is the recipient of a Guggenheim Fellowship, two National Endowment for the Arts grants, a Joan Mitchell Foundation grant, and a Studio Museum in Harlem Artist Award. In 1990, CAA awarded her the Most Distinguished Body of Work or Performance Award. Pindell’s work is in the permanent collection of the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Yale University Art Gallery, the Fogg Museum at Harvard University, and the Rhode Island School of Design Museum, among many others.
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Ursula von Rydingsvard. Photo: Zack Garlitos
Ursula von Rydingsvard is the winner of the 2019 Artist Award for Distinguished Body of Work. Von Rydingsvard is best known for her unmistakable towering sculptures with mountainous topographic surfaces created from carved cedar wood. She has also explored other mediums in her work, such as bronze, paper, and resin. Over an artistic career spanning more than forty years, Von Rydingsvard’s work has been in solo exhibitions at Galerie Lelong, SCAD Museum of Art, the Philadelphia Museum of Art, and Dieu Donné. Her work has been included in numerous group exhibitions and is in the permanent collections of more than thirty museums. She is the recipient of a Lifetime Achievement Award from the International Sculpture Center, the Skowhegan Medal for Sculpture, a Joan Mitchell Foundation grant, and an Academy Award in Art from the American Academy of Arts and Letters, among other awards and recognitions. A major exhibition of her work, Ursula von Rydingsvard: The Contour of Feeling, was presented at the Fabric Workshop and Museum in Philadelphia (April 27 – August 26, 2018) and will travel to the National Museum of Women in the Arts in March 2019.
The Award for Excellence in Diversity recognizes the work of an individual or organization in the visual arts whose commitment to inclusion in scholarship or practice stands out as groundbreaking and unifying. The winner of the Award for Excellence in Diversity for 2019 is the Chicano Studies Research Center at UCLA. The work of the center entails five distinct areas: a library, an academic press, collaborative research projects, public programs and community partnerships, and a grant and fellowship program.
Each year, CAA awards two Distinguished Feminist Awards, one to a visual artist and one to a scholar. The two winners for 2019 are Senga Nengudi for visual artist, and Anna C. Chave for scholar.
The full list of 2019 CAA Awards for Distinction Recipients
Artist Award for Distinguished Body of Work
Ursula von Rydingsvard
Distinguished Artist Award for Lifetime Achievement
Howardena Pindell
Distinguished Teaching of Art Award
Susanne Slavick
Distinguished Feminist Award—Visual Artist
Senga Nengudi
Distinguished Feminist Award—Scholar
Anna C. Chave
Distinguished Teaching of Art History Award
Nancy S. Steinhardt
Edward Sullivan
Distinguished Lifetime Achievement Award for Writing on Art
Molly Nesbit
Award for Excellence in Diversity
Chicano Studies Research Center (CSRC)
Charles Rufus Morey Book Award
Zeynep Çelik Alexander
Kinaesthetic Knowing: Aesthetics, Epistemology, Modern Design
University of Chicago Press, 2017
Finalists
Olga Bush
Reframing the Alhambra: Architecture, Poetry, Textiles and Court Ceremonial
Edinburgh University Press, 2018
Linda Kim
Race Experts: Sculpture, Anthropology, and the American Public in Malvina Hoffman’s Races of Mankind
University of Nebraska Press, 2018
Carolyn Yerkes
Drawing after Architecture
Princeton University Press, 2017
Alfred H. Barr Jr. Award
Wendy Kaplan
Design in California and Mexico 1915–1985: Found in Translation
Los Angeles County Museum of Art, 2017
Finalists
Jeffrey Spier and Timothy Potts
Beyond the Nile: Egypt and the Classical World
J. Paul Getty Trust, 2018
Christophe Cherix
Adrian Piper: A Synthesis of Intuitions 1965–2016
Museum of Modern Art, 2018
Naoko Takahatake and Jonathan Bober
The Chiaroscuro Woodcut in Renaissance Italy
Los Angeles County Museum of Art, 2018
Cecilia Fajardo-Hill, Andrea Giunta, and Rodrigo Alonso
Radical Women: Latin American Art, 1960–1985
Hammer Museum, University of California, 2017
Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions
Andrew C. Weislogel and Andaleeb Badiee Banta
Lines of Inquiry: Learning from Rembrandt’s Etchings
Herbert F. Johnson Museum of Art, Cornell University, 2017
Finalists
Patrick A. Polk, Roberto Conduru, Sabrina Gledhill, and Randal Johnson
Axé Bahia: The Power of Art in an Afro-Brazilian Metropolis
Fowler Museum at UCLA, 2018
Antonio Sergio Bessa and Jessamyn Fiore
Gordon Matta-Clark: Anarchitect
Bronx Museum of Art, 2017
Mark Sloan
Fahamu Pecou: Visible Man
Halsey Institute of Contemporary Art, 2016
Frank Jewett Mather Award for Art Criticism
Julia Bryan-Wilson
Fray: Art + Textile Politics
University of Chicago Press, 2017
Rebecca M. Schreiber
The Undocumented Everyday: Migrant Lives and the Politics of Visibility
University of Minnesota Press, 2018
Art Journal Award
Mara Polgovsky Ezcurra
“Beyond Evil: Politics, Ethics, and Religion in Léon Ferrari’s Illustrated Nunca más”
Art Journal, Fall 2018
Arthur Kingsley Porter Prize
Nathan T. Arrington
“Touch and Remembrance in Greek Funerary Art”
The Art Bulletin, September 2018
CAA/AIC Award for Distinction in Scholarship and Conservation
Karl D. Buchberg
Jodi Hauptman
Learn about the juries that select the recipients of the CAA Awards for Distinction.
Contacts
Nick Obourn, Director of Communications, Marketing, and Membership
nobourn@collegeart.org, 212-392-4401
Joelle Te Paske, Media and Content Manager
jtepaske@collegeart.org, 212-392-4426
IMAGES AVAILABLE UPON REQUEST
Hashtags: #CAA2019 #CAANYC
News from the Art and Academic Worlds
posted by CAA — Jan 16, 2019
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Teachers on strike marched through Los Angeles on January 14, 2019. Photo: Jenna Schoenefeld, via New York Times
El Museo del Barrio Rescinds Philanthropy Award for Rightwing German Princess
The museum walked back its plan after Latinx scholars voiced their disturbance. (Hyperallergic)
Los Angeles Teachers Strike, Disrupting Classes for 500,000 Students
More than 30,000 Los Angeles public-school teachers are on strike in an effort to receive higher pay, smaller classes, and more support staff. (New York Times)
Creativity-Integrated Art History: A Pedagogical Framework
“At a time when the field of Art History is beginning to ask itself what it really wants students to gain from their classes, creativity should be one of those skills.” (Art History Pedagogy & Practice)
Equity and Inclusion for All? Curator Anuradha Vikram Chronicles Her Path Through LA’s Diversifying Art Scene
CAA board member Anuradha Vikram writes on what achieving real equity in the art world could look like. (ARTnews)
Andy Warhol Foundation Lifts Eight-Year Ban on the Smithsonian
The initial sanctions followed the censorship of a work by David Wojnarowicz in 2010. (Artforum)
Kehinde Wiley: ‘When I First Started Painting Black Women, It Was a Return Home’
“I think the starting point of my work is decidedly empathy.” (The Guardian)