CAA News Today
Finalists for the 2024 Morey and Barr Awards
posted by CAA — Nov 16, 2023
CAA is pleased to announce the 2024 finalists for the Charles Rufus Morey Book Award and the two Alfred H. Barr Jr. Awards. The winners of the three prizes, along with the recipients of other Awards for Distinction, will be announced in January 2024 and presented during Convocation in conjunction with CAA’s 112th Annual Conference, February 14–17, 2024.
CHARLES RUFUS MOREY BOOK AWARD SHORTLIST, 2024
Delia Cosentino and Adriana Zavala, Resurrecting Tenochtitlan: Imagining the Aztec Capital in Modern Mexico City, University of Texas Press
Matthew Francis Rarey, Insignificant Things: Amulets and the Art of Survival in the Early Black Atlantic, Duke University Press
Tatiana Reinoza, Reclaiming the Americas: Latinx Art and the Politics of Territory, University of Texas Press
Andrew M. Shanken, The Everyday Life of Memorials, Zone Books
Jennifer Van Horn, Portraits of Resistance: Activating Art during Slavery, Yale University Press
ALFRED H. BARR JR. AWARD SHORTLIST, 2024
Emily Braun and Elizabeth Cowling, eds., Cubism and the Trompe l’Oeil Tradition, The Metropolitan Museum of Art
James A. Doyle, Oswaldo Chinchilla Mazariegos, and Joanne Pillsbury, eds., Lives of the Gods: Divinity in Maya Art, The Metropolitan Museum of Art
Diana Seave Greenwald, ed., Betye Saar: Heart of a Wanderer, Princeton University Press and the Isabella Stewart Gardner Museum
Leo G. Mazow, Storied Strings: The Guitar in American Art, Virginia Museum of Fine Arts
David Pullins, and Vanessa K. Valdés, eds., Juan de Pareja: Afro-Hispanic Painter in the Age of Velázquez, The Metropolitan Museum of Art
ALFRED H. BARR JR. AWARD FOR SMALLER MUSEUMS, LIBRARIES, COLLECTIONS, AND EXHIBITIONS SHORTLIST, 2024
Christophe Cherix, Courtney J. Martin, Akili Tommasino, and Stephanie Weissberg, Barbara Chase-Riboud Monumentale: The Bronzes, Princeton University Press, Princeton, and the Pulitzer Arts Foundation
Elliot Bostwick Davis, Edward Hopper & Cape Ann: Illuminating an American Landscape, Rizzoli Electa, New York, and The Cape Ann Museum, Boston
Apsara DiQuinzio, Jeff Gunderson, Alexander Nemerov, and Elaine Y. Yau, Adaline Kent: The Click of Authenticity, Rizzoli Electa New York and the Nevada Museum of Art, Reno
Perrin Lathrop, ed., African Modernism in America, Yale University Press, New Haven, and the American Federation of Arts
CWA Picks: Fall 2023
posted by CAA — Oct 23, 2023
The exhibitions chosen for the Fall CWA Picks collectively highlight the power of art to engage with medium and memory in diverse and thought-provoking ways. Each exhibition showcases artists who engage with the concept of memory, whether by challenging societal norms and values, redefining perfection, or addressing historical and environmental legacies. Together, these exhibitions emphasize the power of art to shape our understanding of the past and how it shapes our present.
September 7–21 November, 2023
HackelBury, London
Medium and Memory is an exhibition featuring conversations between eight diverse artists whose work centers on memory in its various forms. The work in the show aims to challenge the act of forgetting and harness the potential of art to aesthetically transform traumatic historical legacies, including war, famine, genocide, colonialism, deindustrialization, and the memory-altering effects of the digital age.
RE/SISTERS: A Lens on Gender and Ecology
October 5, 2023–January 14, 2024
Barbican Art Gallery, London
RE/SISTERS: A Lens on Gender and Ecology showcases the work of nearly fifty international women and gender nonconforming artists. Through film, photography, and installations, the exhibition delves into the interconnectedness of gender and ecology, advocating for a just and equitable society where both people and the environment are valued and treated fairly.
The Brodsky Center at Rutgers University: Three Decades, 1986–2017
September 13–December 22, 2023
Zimmerli Art Museum, New Brunswick, NJ
In 1986, Rutgers Distinguished Professor Emerita Judith K. Brodsky established the Brodsky Center to provide opportunities for women, gender nonconforming artists, and artists of color who were marginalized in the art world. This center, originally focused on print and papermaking, evolved into a hub of innovation, addressing contemporary concerns such as race, gender, climate, language, and immigration. The exhibition showcases artworks emblematic of the Brodsky Center’s mission to introduce new narratives into American culture and is organized thematically into sections reflecting its impact on art and society.
Alison Croney Moses: The Habits of Reframing
September 1–October 22, 2023
Abigail Ogilvy Gallery, Boston
The Habits of Reframing is a solo exhibition by Boston-based artist Alison Croney Moses, featuring two new series of wooden artworks. These pieces encourage viewers to consider their ability to shape their sense of self and their understanding of the world, while also challenging societal values, celebrating imperfections, and redefining perfection through sensory engagement with the materials and forms used by the artist.
September 16–November 26, 2023
The Renaissance Society at The University of Chicago
In the fall of 2023, the Renaissance Society will host the first solo exhibition of Beirut-based artist Dala Nasser, featuring a site-specific commission designed to fill the Ren’s expansive exhibition space. Nasser’s interdisciplinary approach encompasses painting, performance, and film, with a focus on abstraction and alternative image-making. Her artwork, created by directly engaging with landscapes, offers a unique perspective by highlighting the marks of political and environmental erosion and toxicity, exploring themes of ecological decay, historical narratives, and the consequences of capitalist and colonial practices. The exhibition centers on the Adonis River, where Nasser produced her paintings inside the cave associated with the mythical figure Adonis, utilizing locally sourced materials, and incorporating three-dimensional spatial environments that evoke the Adonis temple and its surroundings.
Yolanda López: Portrait of the Artist
July 7–October 29, 2023
San José Museum of Art
This is the first solo museum presentation of the work of Yolanda López, the pathbreaking Chicana artist and activist whose career in California spanned five decades. The exhibition presents a compendium of López’s work from the 1970s and 1980s, when she created an influential body of paintings, drawings, and collages that investigate and reimagine representations of women within Chicano/a/x culture and society at large.
Yolanda M. López: Women’s Work is Never Done
August 31–November 12, 2023
Thacher Gallery, University of San Francisco
Curated by her archivist, Angelica Rodriguez, and son, Rio Yañez, this body of work reveals López’s inquisitive approach to artistic mediums and the feminist and political sensibilities that emerged in her practice from life experiences, research, and community activism. Artworks include drawings from her youth, protest designs, preparatory studies for her iconic 1978 Guadalupe series, photography, collage, and xerox art from 1980 and 1990s Mission, prints from her Women’s Work is Never Done series, as well as her final reflective works. This body of work reveals López’s inquisitive approach to artistic mediums and the feminist and political sensibilities that emerged in her practice from life experiences, research, and community activism.
Hung Liu: Capp Street Project, 1988
September 16–November 18, 2023
Rena Bransten Gallery, San Francisco
This collection of paintings and artifacts re-imagines the 1988 exhibition Hung Liu: Resident Alien, the culmination of Liu’s two-month artist residency at the Capp Street Project in San Francisco, presented at the downtown Monadnock Building, a sprawling, under-construction office space that offered Hung Liu a liberating and engaging opportunity. The original exhibition, which took place just five years after Liu immigrated to the US from her native China, was instrumental in bringing her work to the attention of the larger art world. The multimedia installation—composed of paintings, wall drawings, Chinese calligraphy, ceremonial objects from Chinatown, a pile of abacuses, and small mounds of fortune cookies—addressed the history and complexities of the immigrant experience, looking specifically at the history of Chinese immigration to San Francisco from the Gold Rush of 1849 to her own immigration to the US in 1984 and her subsequent status as a “resident alien.” This exploration was both a central theme of the 1988 show, and a focus Liu would pursue for the rest of her career.
June 30–December 10, 2023
SFMOMA, San Francisco
Chinese-born artist Hung Liu (1948–2021) created richly layered portraits and installations that interweave memory and history. This exhibition features works from SFMOMA’s collection, from her most significant paintings made in China during the tumult of the Cultural Revolution between 1966–76 to those created in the US during the 1990s and 2000s. Intimate and large-scale works blend landscapes and images from historical and family photographs with dripping brushwork. Together, they reveal Liu’s enduring commitment to “be a witness of my time” as she elevated her subjects to “mythic figures on the grander scale of history painting.”
August 26–November 4, 2023
Catharine Clark Gallery, San Francisco
Born in Mexico and based in California’s Napa Valley, Arleene Correa Valencia creates paintings, textiles, and drawings that reflect on patterns of migration and family separation. Her recent work is inspired by the letters that she wrote to her father as a child, during a period when her father had migrated to the United States while Correa Valencia remained in Mexico. Correa Valencia draws on her family’s archives and correspondence to craft a visual language that considers the politics of visibility and the complexities of undocumented immigration.
Mika Rottenberg: Spaghetti Blockchain
May 18–October 22, 2023
Contemporary Jewish Museum, San Francisco
New York–based Mika Rottenberg (b. 1976, Buenos Aires) employs a disarmingly absurd sense of humor to confront the paradoxes of global capitalism and uncover the surprising ways in which we are all connected. This exhibition presents Rottenberg’s most prominent videos, installations, and sculptures of the past decade in the first museum survey of her work ever to be presented on the West Coast. Explore a collection of vividly colorful video installations and kinetic sculptures that uncover the surreal qualities of mass production and consumption.
Women In Revolt! Art And Activism In The UK 1970-1990
November 8, 2023– April 7, 2024
Tate Britain, London
This exhibition is a major survey of feminist art by over 100 women artists working in the UK. It explores how networks of women used radical ideas and rebellious methods to make an invaluable contribution to British culture. Through their creative practices, women’s liberation was forged against the backdrop of extreme social, economic, and political change.
Women in Revolt! brings together a wide variety of mediums including painting, drawing, sculpture, performance, film, and photography. It explores and reflects on issues and events such as: the British Women’s Liberation movement, the fight for legal changes impacting women, maternal and domestic experiences, punk, and independent music, Greenham Common and the peace movement, the visibility of Black and South Asian Women Artists, Section 28 and the AIDS pandemic.
The show celebrates the work and lived experiences of a hugely diverse group of women. Many who, frequently working outside mainstream art institutions, have largely been left out of artistic narratives. Women in Revolt! presents many of these works for the first time since the 1970s.
The Feminist Art Program (1970–1975): Cycles of Collectivity
September 13, 2023–January 21, 2024
REDCAT, Los Angeles
In 1970, artist Judy Chicago pioneered a feminist model for art and education with her students at Fresno State College. Chicago was invited by Miriam Schapiro to collaboratively expand this program at CalArts in 1971, where they would go on to develop radical and now influential forms of art, pedagogy, and performance. The program began a cycle of collective activity with the contribution of numerous students, faculty, artists, and designers, many of whom are now considered pivotal artists in feminist art history.
This exhibition acknowledges the many generations of women, trans, queer, and non-binary faculty, students, and artists at CalArts who have stewarded these histories through teaching, archiving, and experimenting. Engaging with these initial moments, while also drawing connections with subsequent contributions, The Feminist Art Program (1970–1975): Cycles of Collectivity brings together these histories through its diverse feminisms, gender theories, and transfeminismos. The exhibition gathers materials from institutional and personal archives, joining them with new responsive artworks by CalArts alumni ak jenkins, Andrea Bowers, Gala Porras-Kim, and Suzanne Lacy. The show includes a special presentation of The Performing Archive by Leslie Labowitz Starus and Lacy. The Feminist Art Program (1970–1975): Cycles of Collectivity presents an ever-growing feminist contribution to art and pedagogy with a multiplicity of voices, contexts, and identities, with an intergenerational collective of scholars, artists, activists, and curators contributing to the research, memory, syllabi, and artworks on display.
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Joanne Leonard, Artemesia’s Suzanna and the Elders and Men Conspiring, 2006
(From Medium & Memory)
Apply now for CAA’s Professional Development Fellowships for graduate students!
posted by CAA — Sep 15, 2023
![](https://www.collegeart.org/news/wp-content//Ruvalcaba-headshot-1-150x200.jpg)
2022 Professional Development Honorable Mention in Visual Art Alberto Lozano Ruvalcaba in the studio
The Professional Development Fellowships program supports promising artists, designers, craftspersons, historians, curators, and critics who are enrolled in MFA, PhD, and other terminal degree programs. Fellows are honored with $10,000 unrestricted grants to help them with various aspects of their work.
One award will be presented to a practitioner—an artist, designer, and/or craftsperson—and one award will be presented to an art, architecture, and/or design historian, curator, or critic. Fellows also receive a free, one-year CAA membership and complimentary registration to the Annual Conference. Honorable mentions, given at the discretion of the jury, also earn a free one-year CAA membership and complimentary conference registration.
ARE YOU ELIGIBLE?
CAA seeks applications from students who are current members; will receive their MFA or PhD degree in the calendar year 2023, following the year of application (2024 for the current fellowship cycle); and have outstanding capabilities and demonstrate distinction in their contribution to art history and the visual arts.
HOW TO APPLY
See our website pages for the Professional Development Fellowship in Art History and the Professional Development Fellowship in Visual Arts for the full guidelines for each program and follow the APPLY NOW button.
DEADLINES
MFA and PhD Fellowships: November 15, 2023
CONTACT
For more information about the CAA Professional Development Fellowship program, Cali Buckley, Manager of Grants and Awards & Director of the CAA-Getty International Program, at cbuckley@collegeart.org.
CWA Picks: Summer 2023
posted by CAA — May 31, 2023
CAA’s Committee on Women in the Arts (CWA) curates a seasonal list of must-see exhibitions. The CWA Summer 2023 picks highlight the rich contributions of women-identifying African, Latinx, and Indigenous artists, bringing their voices to the forefront. These artists explore the legacies of their respective mediums and their enduring significance in contemporary art. Unafraid to tackle pressing social issues, their works offer a powerful lens through which to examine themes of gender, sexuality, race, and ethnicity. By amplifying marginalized perspectives, these exhibitions provoke meaningful conversations and challenge existing narratives in the art world.
Tender Loving Care
July 22, 2023–July 28, 2025
Museum of Fine Art, Boston
This exhibition explores the theme of care through contemporary art. The act of creating and appreciating art is a form of care, and the exhibition highlights how artists address this concept through their materials, ideas, and processes. The exhibition showcases around 100 works from the museum’s collection, organized into five thematic groupings: threads, thresholds, rest, vibrant matter, and adoration. Examples of care in art can be seen in Gisela Charfauros McDaniel’s portrait of her mother, Nick Cave’s Sound Suit, and textiles and fiber art by Sheila Hicks, Howardena Pindell, and Jane Sauer. Through these works and others, visitors are invited to consider how care can inspire new models for living and feeling in the present and the future.
Creativity in the Time of COVID-19: Art as a Tool for Combatting Inequity and Injustice
August 25–September 30, 2023
Buffalo NY: Squeaky Wheel, Buffalo Arts Studio + Buffalo Game Space
In collaboration with the Andrew W. Mellon Foundation, Michigan State University, and SUNY Buffalo’s Amatryx Lab & Studio, this exhibition features a range of BIPOC, LGBTQ+, and Buffalo-based artists and creatives to center marginalized experiences of the pandemic and social justice concerns.
Black Venus
Through August 20, 2023
Museum of the African Diaspora, San Francisco
BLACK VENUS, curated by Aindrea Emelife is an exhibition that surveys the legacy of Black Women in visual culture – from fetishized, colonial-era caricatures to the present-day reclamation of the rich complexity of Black womanhood by 18 artists (of numerous nationalities and with birth years spanning 1942 to 1997). This exhibition is a celebration of Black beauty, an investigation into the many faces of Black femininity and the shaping of Black women in the public consciousness – then and now.
In BLACK VENUS, archival depictions of Baartman and other historical Black women pair with the vibrant, narrative portraiture by some of today’s most influential Black image-makers whose work deals with layered narratives of Black femininity.
This exhibition reckons with difficult visual histories. It features some themes and images that are derogatory and many that are empowering. Sensitive visitors should be aware that several artists in the exhibition employ nudity and sexual imagery to explore their ideas.
Amalia Mesa-Bains: Archeology of Memory
Through August 13, 2023
UC Berkeley Art Museum and Pacific Film Archive (BAMPFA), Berkeley
Amalia Mesa-Bains: Archaeology of Memory is the first retrospective exhibition of the work of longtime Bay Area artist Mesa-Bains. Presenting work from the entirety of her career for the first time, this exhibition, which features nearly 60 works in a range of media, including fourteen major installations, celebrates Mesa-Bains’s important contributions to the field of contemporary art locally and globally.
Shaped by the Loom: Weaving Worlds in the American Southwest
Through July 9, 2023
Bard Graduate Center, NYC
Shaped by the Loom: Weaving Worlds in the American Southwest invites you to explore the world of Navajo weaving. This dynamic gallery and online experience presents never-before-seen textiles created by Diné artists. These historic blankets, garments, and rugs from the American Museum of Natural History are situated alongside contemporary works by Diné weavers and visual artists, such as Barbara Teller Ornelas and Lynda Teller Pete. Shaped by the Loom highlights seasonal cycles that guide the harvesting of dye plants, the cosmologies that inform a weaver’s work, and the songs, stories, and prayers that are woven into every piece. The items in the exhibition will be accompanied by artist interviews, interactive storytelling, and stunning panoramic views of the Navajo Nation. Shaped by the Loom elevates the voices of Indigenous artists and makers to express the cultural legacy and continued vibrancy of weaving traditions in the American Southwest.
The Figure, Reclaimed
A Renaissance of the female body in visual culture
July 5–August 4, 2023
Carolla Arts Exhibition Center, Missouri State University
Throughout the history of visual culture, figurative painting has been regarded as one of the highest forms of Western art. Dazzling displays of hyper-realistic anatomical mastery and expansive narrative scenes depicting multiple figures through complex perspectives dominated as the pinnacle of art-making for centuries. While the artists of these historic images were all white male painters, it was the female body that was often leveraged for these narratives. Further, female artists were also excluded from painting these historic scenes and denied access to nude models to even attempt to study the art of figural painting.
The Figure, Reclaimed, seeks to celebrate and explore the Renaissance of the female body and the female figurative painter in visual culture. Through the work of Aneka Ingold and Livia Xandersmith, this exhibition explores how female figurative painters have combined the traditional art of figurative painting with contemporary, stylized approaches to redefine and expand upon what it means to be a figurative painter, ruminate on the female experience, and how representations of the female body are consumed.
As women face losing bodily autonomy in today’s contemporary society, what does it mean to be a female figurative painter in today’s context? What stories must be told on the scale of figurative painting about what it means to identify as a woman today? Why is the female body a contested landscape, and why does this form hold a sense of home base for visual culture? Is it the embodied connection to humanity and life?
Madeleine Hunt-Ehrlich: Too Bright to See
Perez Art Museum, Miami
Through January 7, 2024
Madeleine Hunt-Ehrlich (b. 1987) is a filmmaker and artist whose work blends narrative and documentary traditions to explore stories and experiences of Black women in the Americas.
Hunt-Ehrlich’s experimental narrative artwork Too Bright to See (Part I) draws on her extensive research on the legacy of Suzanne Roussi-Césaire, a writer and anticolonial and feminist activist from Martinique who, along with her husband, Aimé Césaire, was at the forefront of the Négritude movement during the first half of the 20th century. Roussi-Césaire would also become an important Surrealist thinker, influencing the likes of painter Wifredo Lam and writer André Breton. However, despite her critical contributions to Caribbean thought and Surrealist discourse, until recently much of her work was overlooked.
Too Bright to See (Part I) weaves archival materials with cinematic narrative scenes filmed with an unconventional and modern cast. Drawing inspiration from Caribbean aesthetics and Surrealist artwork, this film installation brings attention to new aspects of Roussi-Césaire’s legacy that are undocumented in the public arena, while addressing the broader question of the continued erasure of women from historical accounts.
Carrie Mae Weems: Reflections for Now
Barbican Art Gallery, London
June 21–September 3, 2023
Opening 22 June 2023, Barbican Art Gallery is proud to present the first major solo exhibition of Carrie Mae Weems in a UK institution. Widely considered to be one of the most influential American artists working today, Weems (b.1953) is celebrated for her exploration of cultural identity, power structures, desire, and social justice through a body of work that develops questioning narratives around race, gender, history, class and their systems of representation.
Highlighting her remarkably diverse and radical practice, this survey brings together an outstanding selection of photographic series, films, and installations spanning over three decades, many of which have never been seen before in the UK. Presenting the development of her unique poetic gaze and formal language from the early 1990s to the present day, this exhibition reflects on Weems’s pioneering career. On display are works from her early iconic Kitchen Table Series (1990) which explores how power dynamics are articulated in the domestic sphere and the potential of the home as a space for resistance, to her acclaimed series Roaming (2006) and Museums (2016) where Weems’s muse confronts architecture as the materialisation of political and cultural power. Her oeuvre challenges dominant ideologies and historical narratives created by and disseminated within science, architecture, photography, and mass media.
The exhibition is accompanied by Carrie Mae Weems: Reflections for Now, the first publication devoted to the artist’s writings. It will highlight Weems’s influence as an intellectual, reflecting the dual nature of her career as an artist and activist. A public programme of events, including a programme of films in Barbican cinema, will also run throughout the course of the exhibition.
Gio Swaby: Fresh Up
Through July 3, 2023
Art Institute of Chicago
Gio Swaby is a multidisciplinary artist whose textile-based practice explores the intersections of Blackness and womanhood. Her embroidered portraits are anchored in the connections she forges with her subjects: each portrait begins with a photo shoot in which her sitters are captured in a moment of self-awareness and empowerment. In her textile interpretations, Swaby foregrounds their hair, clothing, and jewelry—highlighting and celebrating the subjects’ use of fashion as unapologetic self-definition and self-expression.
This exhibition—Swaby’s first solo museum show—brings together seven of Swaby’s series from 2017 through 2021, such as My Hands Are Clean, Love Letters, and Pretty Pretty, along with approximately 15 new works, including her largest work to date, a commission for the US Embassy in Nassau, Bahamas. The title of the show, Fresh Up, developed with the artist, is a Bahamian phrase often used as a way to compliment someone’s style or confident way of being. Swaby has remarked, “It holds a lot of positivity and joy. It also speaks to the tone of confidence and power that I want to create with these works. I love that it is a way to form connections through a simple phrase.”
Lynn Hershman Leeson: Phantom Limb
Through July 8, 2023
Altman Seigel, San Francisco
Altman Siegel proudly presents a historical exhibition of works from Lynn Hershman Leeson’s Phantom Limb series, which was created in the 1980s. At the time that it was created, the Phantom Limb collages illustrated the more insidious impacts of mass media and technology on women’s bodies. Created prior to the advent of Photoshop, this body of work borrows from the visual language of advertising, fusing female forms with technology. Seductively posed women merge with cameras, TV screens, and electrical plugs, pointing to ways in which gendered mass media representations shape and distort women’s self-image. At once alluring and disarming, these black-and-white photo collages grapple with the absorption of female identity into modern media at a time when the depths of this issue were just beginning to be explored.
In this series Hershman Leeson was already musing on the implications of surveillance when she describes cameras as a “capture system”:
“This photographic series…suggests that we are not only being watched by surveillance systems, but that ‘capture’ systems are endemic to our society. The series questions individual complicity in a system that simultaneously steals images and warps personal identity. The seductive alliance of surveillance and capture inspired the sexually provocative positions in the anthropomorphic images.” – Lynn Hershman Leeson
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My Hands Are Clean 4, 2017 Gio Swaby. Courtesy of Claire Oliver and Ian Rubinstein. © Gio Swaby
caa.reviews Seeks Field Editors in Ten Areas
posted by CAA — May 16, 2023
CAA is inviting nominations and self-nominations for individuals to join the caa.reviews Council of Field Editors for the three-year term July 1, 2023–June 30, 2026. caa.reviews is devoted to the peer review of new books, museum exhibitions, and projects relevant to art history, visual studies, and the arts. Candidates may be artists, art historians, art critics, art educators, curators, or other art professionals with stature in the field and experience writing or editing books and/or exhibition reviews; institutional affiliation is not required. caa.reviews is seeking Field Editors in the following fields:
- Architectural History, Urban Planning, Historic Preservation, Landscape Architecture
- South and Southeast Asian Art
- Indigenous Art
- Early Modern European Art (South)
- Nineteenth-Century Art
- Twentieth-Century Art
- Contemporary Art
- Cinema, Media, and Performance
- Exhibitions: Northeast
- Exhibitions: New York
Working with the caa.reviews editor-in-chief, the caa.reviews Editorial Board, and CAA’s staff editor, each field editor selects content to be reviewed, commissions reviewers, and considers manuscripts for publication. Field editors for books are expected to keep abreast of newly published and important books and related media in their fields of expertise, and those for exhibitions should be aware of current and upcoming exhibitions (and other related projects) in their geographic regions.
The Council of Field Editors meets once a year in February during the Annual Conference (although attendance at the conference is not necessary to participate in the meeting). Members of all CAA committees and editorial boards volunteer their services without compensation.
Candidates must be current CAA members and should not be serving on the editorial board of a competing journal or on another CAA editorial board or committee. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome.
Interested applicants—both self-nominated or nominated by someone else—should submit a CV and a cover letter in a single PDF document to ebell@collegeart.org.
Deadline: June 15, 2023
Nominations Open for CAA Juries
posted by CAA — May 11, 2023
CAA invites nominations and self-nominations for individuals to serve on our Awards for Distinction, Publication Grant, Fellowship, and Travel and Support Grant juries. Terms begin July 2023.
Candidates must possess expertise appropriate to the jury’s work and be current CAA members. They should not hold a position on a CAA committee or editorial board beyond May 31, 2023. CAA’s president and vice president for committees appoint jury members for service. Materials are due to CAA by June 1, 2023.
![Amanda Williams speaks at Convocation at CAA's 108th Annual Conference in Chicago](http://www.collegeart.org/news/wp-content//MicrosoftTeams-image3-300x167.jpg)
Amanda Williams speaks at Convocation at CAA’s 108th Annual Conference in Chicago
AWARDS FOR DISTINCTION JURIES
CAA has vacancies in the following juries for the annual Awards for Distinction for three years (2023–2026). Terms begin in July 2023.
- Art Journal Award (1 vacancy)
- The Alfred H. Barr Jr. Award/Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions for museum scholarship (2 vacancies)
- Charles Rufus Morey Book Award for non-catalogue books in the history of art (1 vacancy)
- Frank Jewett Mather Award for art criticism (2 vacancies)
- Arthur Kingsley Porter Prize for Art Bulletin articles (1 vacancy)
- The CAA/American Institute for Conservation Award for Distinction in Scholarship and Conservation (1 vacancy)
- Jury for the Artist Award for Distinguished Body of Work, Distinguished Artist Award for Lifetime Achievement, and Distinguished Teaching of Art Award (1 vacancy)
- Excellence in Diversity Award (3 vacancies)
- Distinguished Feminist Awards for Scholars and Artists (1 vacancy)
FELLOWSHIP AND SCHOLARSHIP JURIES
CAA has vacancies on our Professional Development Fellowship juries for three years (2023–2026). Terms begin in July 2023.
- Professional Development Fellowships for Art History (2 vacancies)
- Professional Development Fellowships for Visual Art, CAA-GOLDEN Scholarship Program, and Michael Aurbach Fellowship for Excellence in Visual Art (3 vacancies)
TRAVEL/SUPPORT GRANT JURIES
CAA has vacancies on our jury for three years (2023–2026). Terms begin in July 2023.
- Art History Fund for Travel to Special Exhibitions (3 vacancies)
HOW TO APPLY
Nominations and self-nominations should include a brief statement (no more than 150 words) outlining the individual’s qualifications and experience and a CV (an abbreviated CV no more than two pages may be submitted). Please send all materials by email to Cali Buckley: cbuckley@collegeart.org. Nominations must be sent as a Microsoft Word or Adobe PDF attachment.
For questions about jury service and responsibilities, contact cbuckley@collegeart.org.
Deadline: June 1, 2023
Art Journal Seeks Editor-in-Chief
posted by CAA — Mar 21, 2023
**THESE POSITIONS HAVE BEEN FILLED. NOMINATIONS ARE CLOSED**
The Art Journal/AJO Editorial Board invites nominations and self-nominations for the position of editor-in-chief for the term July 1, 2023–June 30, 2027 (with service on the Art Journal/AJO Editorial Board in 2023–24 as editor designate, and in 2027–28 as past editor). Art Journal, published quarterly by CAA, is devoted to twentieth- and twenty-first-century art and visual culture.
Working with the editorial board, the editor-in-chief (EIC) is responsible for the content and character of the journal. The EIC solicits content, reads all submitted manuscripts, sends submissions to peer reviewers, and provides guidance to authors concerning the form and content of submissions; develops projects; makes final decisions regarding content; and may support fundraising efforts on the journal’s behalf. A candidate may be an artist, art historian, art critic, art educator, curator, or other art professional. The EIC works closely with CAA’s New York staff, attends three meetings each year of the Art Journal/AJO Editorial Board—held in the spring and fall by teleconference or in New York, and in February at the CAA Annual Conference—and submits an annual report to CAA’s Board of Directors.
The position usually requires twenty hours a week. CAA provides financial compensation for course releases, usually to the EIC’s employer. The EIC is responsible for expenses related to travel and lodging.
Candidates must be current CAA members in good standing and should not be serving on the editorial board of a competitive journal or on another CAA editorial board or committee. CAA encourages applications from colleagues who will contribute to the diversity of perspectives on the Art Journal/AJO Editorial Board and who will engage actively with conversations about the discipline’s engagements with differences of culture, religion, nationality, race, gender, sexuality, and access. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. A CV, a letter of interest from the nominee, and at least one letter of recommendation must accompany each nomination. Please send nominations by email to Eugenia Bell, Editorial Director, ebell@collegeart.org, and include “Art Journal Editor-in-Chief Search” in the subject line.
Deadline: April 30, 2023
caa.reviews Seeks Field Editors in Eleven Areas
posted by CAA — Mar 21, 2023
CAA is inviting nominations and self-nominations for individuals to join the caa.reviews Council of Field Editors for the three-year term July 1, 2023–June 30, 2026. An online journal, caa.reviews is devoted to the peer review of new books, museum exhibitions, and projects relevant to art history, visual studies, and the arts. Candidates may be artists, art historians, art critics, art educators, curators, or other art professionals with stature in the field and experience writing or editing books and/or exhibition reviews; institutional affiliation is not required.
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- Indigenous Art
- Architectural History, Urban Planning, Historic Preservation, Landscape Architecture
- South and Southeast Asian Art
- Islamic Art
- Cinema, Media, and Performance
- Nineteenth-Century Art
- Twentieth-Century Art
- Contemporary Art
- Early Modern European Art (South)
- Exhibitions: Midwest
- Exhibitions: Northeast
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Working with the caa.reviews editor-in-chief, the caa.reviews Editorial Board, and CAA’s staff editor, each field editor selects content to be reviewed, commissions reviewers, and considers manuscripts for publication. Field editors for books are expected to keep abreast of newly published and important books and related media in their fields of expertise, and those for exhibitions should be aware of current and upcoming exhibitions (and other related projects) in their geographic regions.
The Council of Field Editors meets once a year at the CAA Annual Conference. Members of all CAA committees and editorial boards volunteer their services without compensation.
Candidates must be current CAA members and should not be serving on the editorial board of a competing journal or on another CAA editorial board or committee. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome.
Interested applicants—both self-nominated or nominated by someone else—should submit a CV and a cover letter, in one PDF document to ebell@collegeart.org.
Deadline: April 30, 2023
CAA Staff Spotlight: Mira Friedlaender
posted by CAA — Mar 10, 2023
![](http://www.collegeart.org/news/wp-content//2023-Staff-Spotlight-Mira-Friendlaender-1-300x200.jpg)
On Guard, performance centering on the installation of long-stored objects from the Bilge Civelekoglu Friedlaender Estate, FiveMyles, Brooklyn, 2014.
Mira Friedlaender is CAA’s Senior Manager of Annual Conference and Programs. Since joining CAA in 2018, Mira has worked with a significant portion of members (new and returning!) and continues to do so each year to support their participation in conference sessions and events. She produces the event with CAA staff, committees, and partners, attending to myriad details while also working to refine and reshape the conference each year in support of CAA’s long-term strategic goals. Mira was previously an exhibition manager for nonprofits such as No Longer Empty and HappyLuckyNo1. She also worked in television production and co-owned a restaurant in Brooklyn, New York.
As an artist and independent scholar of art stewardship, Mira has exhibited locally and internationally, and her work has been featured in the New York Times and Bomb. She has held residencies at the American Center in Bangladesh and Recess in New York. She is the Director of the Bilge Friedlaender Estate, was a fellow in the Art & Law Program, and cocurated Bilge Friedlaender: Words, Numbers, Lines in Istanbul.
“Since her death, I’ve been stewarding the art my mother Bilge Friedlaender (née Civelekoglu) made, beginning more actively in 2014 with my project at Recess, which was still in Soho at that time. I’ve contributed to the scholarship on artist estates through this work and through knowledge sharing; as an artist and artist’s heir I am most interested in performing an emotional institutional critique of the challenges artist-stewards face, particularly those without infinite resources,” explains Mira.
Curated by Işın Önol, Bilge Friedlaender’s never-before-seen works from the 1970s are on view now at Sapar Contemporary in New York City through April 10. Bilge’s work occupies a unique place in the Turkish and Middle Eastern modernist tradition as well as in the history of twentieth-century American art, especially the soulful minimalism of 1970s—not unlike the work of Zarina Hashmi, Etel Adnan, and Huguette Caland. Bilgé’s minimalism is infused with Sufi mysticism, sacred numerology, and reverence for nature and the divine feminine. Her spiritual feminism evolved into an overt ecofeminism as she grew older.
“My mother left Turkey in 1958 to come to the US and be an artist, and she exhibited until her death. Since 2015 there has been a museum show of her work in Istanbul and there have been subsequent opportunities for Bilge’s work, but this is the first time her work has been shown in New York City since 1981. This is a big step for the estate. Next, we are looking to travel this incredible selection of the works on paper and artist books with the goal of expanding the scholarship around Bilge’s artworks and extensive writings.”
Join Mira and curator Işın Önol in conversation with guests on April 4, 6 p.m. ET, at Sapar Contemporary.
![](http://www.collegeart.org/news/wp-content//2023-Staff-Spotlight-Mira-Friedlaender-2-360x189.jpg)
Bilge Friedlaender, Weightless Pink, 1975
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Bilgé: Lifespan of a Horizontal Line, Sapar Contemporary, 2023, and, right column, Half of What’s There, Recess Art, 2014
![](http://www.collegeart.org/news/wp-content//2023-Staff-Spotlight-Mira-Friedlaender-4-360x189.jpg)
Bilge Friedlaender, Tides Time II, 1975
CAA Signs ACLS Statement on Florida House Bill 999
posted by CAA — Mar 07, 2023
CAA has signed on to a statement issued by the American Council of Learned Societies (ACLS) regarding Florida HB 999. This bill would radically shift Florida’s approach to higher education in a manner that negatively impacts diversity and academic freedom; this is antithetical to CAA’s mission.
CAA stands with ACLS, together with other academic societies, and shares their belief that, if passed, the bill “ends academic freedom in the state’s public colleges and universities, with dire consequences for their teaching, research, and financial well-being.”
The full ACLS statement on Florida HB 999 can be viewed here. CAA encourages individual and institutional members to visit the ACLS website and sign on to the ACLS statement, as well as contact legislators, write op-eds, and proliferate information on social media to fight this bill.
Other learned societies and higher education institutions who have signed the ACLS statement:
American Academy of Religion
American Anthropological Association
American Association for Italian Studies
American Folklore Society
American Historical Association
American Musicological Society
American Philosophical Association
American Political Science Association
American Society for Environmental History
American Sociological Association
Association for Slavic, East European, and Eurasian Studies
Association for the Study of African American Life and History
Association of University Presses
College Art Association
German Studies Association
Latin American Studies Association
Linguistic Society of America
Medieval Academy of America
Modern Language Association
National Council of Teachers of English
National Council on Public History
National Women’s Studies Association
Organization of American Historians
Rhetoric Society of America
Sixteenth Century Society & Conference
Society for Ethnomusicology
Society for Music Theory
Society for the History of Technology
Society of Biblical Literature
World History Association
CAA has also signed on to a Florida HB 999 statement issued by the American Historical Association (AHA) which can be viewed here.
Other organizations who have signed the AHA statement:
African American Intellectual History Society
American Anthropological Association
American Association for the History of Medicine
American Association of University Professors
American Folklore Society
American Philosophical Association
American Society for Environmental History
American Sociological Association
Association for Slavic, East European, and Eurasian Studies
Association for the Study of African American Life and History
Association of Ancient Historians
Association of University Presses
Berkshire Conference of Women Historians
Black Heritage Trail of New Hampshire
Central European History Society
College Art Association
Committee on LGBT History
Conference on Latin American History
Executive Committee of the Czechoslovak Studies Association
French Colonial Historical Society
German Studies Association
H-France
Historians for Peace and Democracy
Immigration and Ethnic History Society
Kurt Vonnegut Museum and Library
Labor and Working Class History Association
LGBTQ History Museum of Central Florida
Linguistic Society of America
Medieval Academy of America
National Association of Diversity Officers in Higher Education
National Council on Public History
National Council of Teachers of English
New England Historical Association
North American Conference on British Studies
North American Society for Oceanic History
Organization of American Historians
PEN America
Polish American Historical Association
Radical History Review
Roy Rosenzweig Center for History and New Media
Shakespeare Association of America
Social Welfare History Group
Society for Austrian and Habsburg History
Society for French Historical Studies
Society for Historians of the Gilded Age and Progressive Era
Society for Textual Scholarship
Society for the History of the Early American Republic
Society for the History of Technology
Society for the History of the Early American Republic
Society for U.S. Intellectual History
Southern Historical Association
Texas Institute of Letters
Tully Center for Free Speech at Syracuse University
Western Society for French History
Woodhull Freedom Foundation
World History Association