posted by CAA — Dec 04, 2013
In an effort to promote greater interaction and exchange between American and international art historians and artists, CAA offers twenty International Travel Grants to bring colleagues from around the world to its Annual Conference, to be held next year in Chicago from February 12 to 15, 2014. This is the third year of the program, which has been generously funded by the Getty Foundation since its inception. CAA is pleased to announce this year’s recipients—professors of art history, curators, and artists who teach art history—who were selected by a jury of CAA members from a highly competitive group of applicants. Their biographies are listed below.
In addition to covering travel expenses, hotel accommodations, and per diems, the CAA International Travel Grants include conference registration and a one-year CAA membership. At the conference, the twenty recipients will be paired with hosts, who will introduce them to CAA and to specific colleagues who share their interests. Members of CAA’s International Committee have agreed to serve as hosts, along with representatives from the National Committee for the History of Art (NCHA). CAA is grateful to NCHA for renewing its generous underwriting of the hosts’ expenses. The program will begin on February 11 with an introductory preconference for grant recipients and their hosts.
Grant recipients from previous years have found the experience enormously beneficial. Didier Houenoude, a 2012 grantee from Benin, reflected that “Meeting different colleagues from all over the world was a great experience…. I learned how possible and great it is to work with others although we have different research fields. I am convinced that it is very important to work in collaboration with other researchers.” Marina Vicelja-Matijašić, a 2013 grantee from Croatia, stated: “The possibility to talk about ‘general problems and issues’ such as global art history or crisis in art history in an international audience and sharing ideas from different perspectives was of great value.” Musarrat Hasan, a 2013 grantee from Pakistan, described the personal impact of the program, saying: “A whole new range and scope of possibilities have entered my horizon…. On a personal and human level it was a great gathering for creating global understanding.”
CAA hopes that the travel-grant program will not only increase international participation in the organization’s activities, but also expand international networking and the exchange of ideas both during and after the conference. The Getty-funded International Travel Grant Program supplements CAA’s regular program of Annual Conference Travel Grants for graduate students and international artists and scholars. We look forward to welcoming the grant recipients in Chicago at the next Annual Conference. To learn more about the CAA International Travel Grant Program, visit www.collegeart.org/travelgrants/gettyor contact project director Janet Landay at firstname.lastname@example.org.
Rael Artel is a curator of contemporary art and, since April 2013, director of the Tartu Art Museum in Estonia. She graduated from the Institute of Art History at the Estonian Academy of Arts in 2003 and participated in the De Appel Curatorial Training Programme in Amsterdam in 2004–5. Since 2000 she has curated projects in Estonia, Warsaw, Lisbon, Amsterdam, and New York. Artel is the artistic director of the festival of contemporary art in Tartu called ART IST KUKU NU UT. She is also the initiator and moderator of Public Preparation, an international platform for network-based communication and collective research.
Recent exhibitions include Let’s Talk about Nationalism! Between Ideology and Identity (Kumu Art Museum, Tallinn, Estonia, 2010); Lost in Transition (Contemporary Art Museum of Estonia, Tallinn, 2011); Art Must Be Beautiful: Selected Works by Marina Abramović (Tartu Art Museum, 2011); Life in the Forest (Arsenal Gallery, Bialystok, Poland, 2011); After Socialist Statues, KIM? (Contemporary Art Centre, Riga, Latvia, 2011); Explosion in Pärnu (Kumu Art Museum, 2012); and Marge Monko: How to Wear Red? (Tartu Art Museum, 2013).
Eric Appau Asante
Eric Appau Asante
Eric Appau Asante is a senior member and lecturer of art history at the Kwame Nkrumah University of Science and Technology (KNUST), Kumasi, Ghana. He earned a PhD in art history (African art and culture) from the same university, where he currently teaches courses in the history of African art and culture, philosophy of African art and culture, research methodology, and history of global art.
For the past seven years Asante has concentrated his efforts on research and teaching people about history and symbolism in African art as well as art and memorial culture. In addition to these subjects he is interested in gender and art production, philosophies and educational connotations of African art, and wood culture and art production. In January 2013 he became Ghana’s coordinator for the International Wood Culture Society.
Cezar Bartholomeu is a photographer and professor of art history at the School of Fine Arts, Department of Art History, Universidade Federal do Rio de Janeiro (UFRJ), in Brazil. He received a PhD in Visual Languages from both the UFRJ and the École de Hautes Études in Paris. Since 2010 he has been the editor-in-chief of Arte & Ensaios, one of Brazil’s major art journals. His areas of research include photography as art, photography’s history and theory, and contemporary art and photography in Brazil and worldwide.
As a photographer, Bartholomeu exhibits widely in Brazil and Europe. His publications include “Três pequenos instantâneos: Benjamin, Barthes, Derrida” in Artefoto (Rio de Janeiro: CCBB, 2002), Celebrações/Negociações – Fotografia Africana na coleção Gilberto Chateaubriand (African Photography in the Gilberto Chateaubriand Collection, Museum of Modern Art, Rio de Janeiro, 2011), and “Emanation/Abjection” in Laboratório Público de Históra da Arte Mundial (Public World Art History Lab, Rio de Janeiro: UERJ, to be published in 2014).
Laris Borić studied art history at the University of Zadar (MA) and Zagreb (MSc) before receiving his PhD from the University of Zadar in 2010. His thesis, “Renaissance Sculpture and Architectural Decoration in Zadar,” indicates his ongoing interest in artistic and architectural production in Adriatic rim cultures between the fifteenth and seventeenth centuries. He is especially interested in problems related to the permeation of heterogeneous influences in art (particularly sculpture and architecture) of towns in the northern part of the Adriatic (Venice, Veneto, Istria, Dalmatia, and Marche) and particularly the dominant role of Venice and Padua, and to a lesser degree, Marche, Lombardy, and Tuscany.
Borić is an assistant professor in the Department of the History of Art at the University of Zadar, where he teaches courses in European and Croatian Renaissance and Baroque art. In October 2013 he became chair of the department.
Eddie Butindo-Mbaalya teaches art history, theory, criticism, and education in the Department of Art and Industrial Design at Kyambogo University in Kampala, Uganda. With degrees in art history, art education, and fine arts, he is currently completing his PhD at Makerere University with a dissertation on contemporary public art in Uganda. Butindo-Mbaalya is especially interested in the complexity behind commemorative monuments and the debate about their role in constructing national collective memories.
As an artist, Butindo-Mbaalya is represented in the collection of the Weltkulturen Museum (World Cultures Museum) in Frankfurt, Germany. He has written about the art and architecture of recreational facilities in Uganda and also designed a logo for his country’s National Agricultural Advisory Services (NAADS) as a World Bank–funded project.
Josefina de la Maza Chevesich
Josefina de la Maza Chevesich
Josefina de la Maza Chevesich studied art history and theory at Universidad de Chile before receiving her PhD in art history and criticism from Stony Brook University (New York) in 2013. Her academic interests revolve around the development of Chilean and Latin American art of the long nineteenth century, the definition of pictorial genres, the emergence of fine-art academies and museums, and the impact of authoritarian regimes on art history.
De la Maza’s dissertation, “Contesting Nationalism: Mamarrachos, Slave-Pieces, and ‘Masterpieces’ in Chilean Nineteenth-Century Painting,” explores the development of Chilean painting in the 1880s. Using the notion of mamarracho (bad or passé art) her work explores the emergence of official and unofficial discourses organized around Chilean painting in the midst of the War of the Pacific (1879–83), the constitution of the Museo Nacional de Bellas Artes, and the official actions developed to preserve and promote “national art” in Europe. She is currently an assistant professor in the Department of Art at Universidad Alberto Hurtado in Santiago, Chile.
Katerina Gadjeva received a PhD in art history from the National Academy of Arts in Sofia, Bulgaria. She studies the history and theory of photography, in particular, the concept of “visual propaganda” and the role of photography in Socialist ideology in the USSR and Bulgaria. In 2012, she published a monograph on the subject, entitled Between Desire and Reality: Photographic Illustrations in Bulgarian Periodicals 1948–1956.
Gadjeva is an assistant professor in the Institute of Art Studies, Bulgarian Academy of Science, Sofia, and a lecturer in the New Bulgarian University and St. Kliment Ohridski University, Sofia. She also works with young Bulgarian artists who are interested in alternative photographic processes.
Heba Nayel Barakat Hassanein
Heba Nayel Barakat Hassanein
Heba Nayel Barakat Hassanein is the head of the Curatorial Affairs Department at the Islamic Arts Museum Malaysia (IAMM). A graduate of the American University in Cairo, she is a specialist in Islamic art and architecture. She holds an MA in the history of architecture from Middle East Technical University in Ankara, Turkey, and a PhD from the Oriental Institute in Moscow, Russia. As project manager at the Center for Documentation of Cultural and Natural Heritage in Cairo, Egypt, she researched and documented Cairo’s nineteenth- and early-twentieth-century presidential palaces.
Hassanein has also documented the early Islamic papyrus collection and the Persian illuminated manuscript collection at the Egyptian National Library in Dar el-Kotob, Egypt, and worked on the pigment analysis of early miniatures. Currently she is overseeing the refurbishment of IAMM’s permanent galleries, researching artifacts, and supervising exhibitions and accompanying catalogues for the museum’s special-exhibition galleries.
Lilianne Lugo Herrera
Lilianne Lugo Herrera
Lilianne Lugo Herrera holds a degree in theater arts with a specialization in playwriting from the Universidad de las Artes in Havana, Cuba. Since 2010 she has been a professor at that university and vice dean of research and postgraduate studies at its Faculty of Theater.
Herrera is also the editor of Tablas, a magazine of Cuban theater. Herrera researches the relationships between the history of art and the history of theater and their interrelationships in the contemporary practice of art and the performing arts. Three of her plays have been published, one of them in the United States, and she has won several awards in playwriting. Herrera is an active participant in festivals, conferences, and residencies both in Cuba and internationally.
Hugues Heumen Tchana
Hugues Heumen Tchana
Hugues Heumen Tchana is a junior lecturer in the Department of Fine Arts and Heritage Sciences at the Higher Institute of the Sahel, University of Maroua, Cameroon. He is currently completing his PhD in museology with a dissertation on “Museums in the Cultural Sphere of the Grassfields of Cameroon: History, Management, and Current Stake.” The Higher Institute of the Sahel opened in 2010.
Heumen Tchana teaches courses on cultural heritage and museum management and supervises student internships in a number of museums in Cameroon. In 2007, he was awarded the international competitive examination scholarship for a master’s degree (2007–9) from the University of Senghor in Alexandria, Egypt. In 2009, Heumen Tchana completed an MA in development specializing in the management of cultural heritage, also from the University of Senghor.
Kanwal Khalid holds a BFA and MFA in graphic design, an MPhil in art history, and a PhD in fine arts, all from Punjab University in Lahore, Pakistan. She specializes in the history of South Asian art and design, with a particular focus on miniature painting in nineteenth-century Lahore. A practicing miniaturist, she is currently an assistant professor at the Institute of Design and Visual Arts, Lahore College for Women University. Previously she was the curator of paintings at the Lahore Museum.
Khalid serves on the editorial board of the Trust for History, Art and Architecture of Pakistan (THAAP), a forum for publications and research journal. She is also a board member of several organizations, including the Rotary Club Lahore Mozang and the Delaware Lahore Delhi Partnership for Peace, a nonprofit NGO of private citizens in the United States, Pakistan, and India dedicated to the creation of mutual understanding and goodwill.
Mahmuda Khnam is an assistant professor in the Department of Islamic History and Culture, Jagannath University, Dhaka, Bangladesh. She has been teaching and researching Islamic art, especially that of the Indian subcontinent, for more than a decade. Before joining the newly established university in 2012, she taught at Eden College in Dhaka.
Having earned her MPhil with a dissertation on Mughal architecture in the Comilla region of Bangladesh, Khnam is currently completing her PhD, researching the development of painting in Bengal during the eighteenth and nineteenth centuries. In addition to a monograph based on her MPhil thesis, Khnam has published a number of articles on Islamic art and the art of Bengal, mostly in her native language, Bangla.
Daria Kostina is an assistant professor in the Department of Art History and Cultural Studies at the Ural Federal University in Yekaterinburg, Russia. She is also a curator at the B.U.Kashkin Museum, an experimental exhibition space and collection of underground and alternative art, housed within the same department and university. In addition to Yekaterinburg, Kostina has curated exhibitions in Saint Petersburg and New York.
Kostina studies Russian émigré art of the 1920s and 1930s, in particular artists who lived in the Czech Republic, and regional Russian underground and alternative art from the 1960 to the 1980s. Her PhD dissertation (in progress) is devoted to the work of Grigory Musatov, a Russian artist who emigrated to Prague in 1920. She is also interested in urban studies and in 2012 organized interdisciplinary workshop for emerging scholars, Contemporary Art as a Humanization Instrument for Public Spaces (Yekaterinburg).
Portia Malatjie is a South African curator and art historian based in Grahamstown and Johannesburg. She completed an MA in the history of art at the University of the Witwatersrand in 2011, following a fine-art degree at the same institution in 2008. She has curated numerous exhibitions of contemporary art, including CityTales and CountryScapes at Museum Africa (2011), Transference at the Johannesburg Art Gallery (2012), and the 2012 MTN New Contemporaries Award, an exhibition held at the historic Castle of Goodhope’s B Block in Cape Town. She has published widely in the Mail & Guardian, Artthrob, and Third Text and in numerous exhibition catalogues.
In 2011, Malatjie participated in the 24 Hour Suburban Residency at the Sober and Lonely Institute for Contemporary Art, where she organized a one-day workshop for emerging curators. A lecturer at Rhodes University in Grahamstown, she is currently researching the subject of black feminism in the context of South African art history and contemporary curatorial practices in her country and in other parts of Africa.
Fernando Martínez Nespral
Fernando Martínez Nespral
Fernando Martínez Nespral was trained as an architect at the University of Buenos Aires in Argentina and holds a PhD in history from Torcuato Di Tella University in Buenos Aires. He studies connections between the Islamic world and Hispanic American culture in the fields of architecture and art history. Approaching this subject from diverse starting points—a dictionary of Spanish words with Arabic origins, foreign accounts of domestic architecture in sixteenth- and seventeenth-century Spain, transcultural use of Spanish tiles—he is currently working on Islamic mashrabiya (balconies closed with lattice) and their frequent use in Latin American countries, especially Peru.
Martínez Nespral teaches courses on the history of architecture and is also a main researcher at the American Art and Aesthetics Research Institute, both positions at the School of Architecture, Design and Urbanism at the University of Buenos Aires.
Susana S. Martins
Susana S. Martins
Susana S. Martins is currently an FCT-Portugal Research Fellow both at the Institute for Art History, Universidade Nova de Lisboa, Portugal, and at the Institute for Cultural Studies, Universiteit Leuven, Belgium. Initially trained as an art historian in Lisbon, she was awarded a PhD in photography and cultural studies from the arts faculty of the Katholieke Universiteit Leuven, with the work “Portugal as Seen through Foreign Eyes: Photography and Visual Culture in the 1950s.”
Martins studies the history and theory of photography, with a particular focus on travel books, tourism, exhibitions, cinema, visual arts, surveillance, national identities, and postcolonial studies. She is interested in the different roles photography has played in international and universal exhibitions since the nineteenth century and also studies contemporary art, film, and politics. Since 2008 Martins has served as an art-history professor in the fields of photography, visual arts, communication semiotics, Impressionism, and modernity.
Magdalena Anna Nowak
Magdalena Anna Nowak
Magdalena Anna Nowak is an assistant curator in the Department of Modern and Contemporary Art at the National Museum in Warsaw. She received an MA from the Institute of Art History at the University of Warsaw in 2010, having spent the previous year at the Ecole des Hautes Etudes en Sciences Sociales in Paris in the Department of Theories et Pratiques du Langage et des Arts. Her research then concentrated mainly on contemporary video art. In her current position she is in charge of the film and new-media collections at the museum and also curates temporary exhibitions.
Nowak is currently writing a PhD dissertation on repetition and reenactment of old-master paintings in video art. Her research concerns the interactions between old and contemporary art, the empathy theory, Aby Warburg’s legacy, the representation of emotions in art, and viewers’ reactions toward depicted passions and neuro art history. She is also interested in Polish art from the 1970s.
Freeborn Odiboh is a Nigerian artist, art historian, and critic. He holds a BFA in sculpture from the University of Benin, Benin City (1984), an MA in African visual arts history from the University of Ibadan (1987), and a PhD in art history from the University of Nigeria, Nsukka (2004). He is an associate professor of art history and art criticism, Department of Fine and Applied Arts, University of Benin. Odiboh has received a number of international awards, including the Leventis postdoctoral fellowship at the University of London (2006) and a fellowship from the American Council of Learned Societies’ African Humanities Postdoctoral Program (2010–11).
In addition to publishing over twenty-seven articles in international and national journals, Odiboh published his first book, entitled Creative Reformation of Existing African tradition: The Abayomi Barber Art School and Modern Nigerian Art, in 2012. He is currently writing his second book, Africanizing a Modern African Art History Curriculum from Nigerian Experience. Odiboh’s art has been presented in several solo and group exhibitions in his country.
Adriana Oprea is a Romanian critic and art historian. She received her MA in art history at the National University of Arts in Bucharest with a study of feminism in recent Romanian art. She is currently pursuing a PhD, focusing on the discourse of art criticism and the status of the art critic during and after the Communist regime in Romania. Since 2006, Oprea has been a researcher and archivist at the National Museum of Contemporary Art in Bucharest, where she organizes data regarding the activity of Romanian artists.
Oprea frequently collaborates with art spaces and writes essays for exhibition catalogues and reviews for Romanian magazines. She is associate editor for ARTA magazine, the main Romanian art publication during the Communist era and one of the few concerned with the present state of Romanian art. She sometimes curates exhibitions and on rare occasions poses as an artist. Oprea lives and works in Bucharest.
Ahmed Wahby is an Egyptian architect, art historian, and lover of Islamic art and architecture. Born in Nigeria, he grew up in the United Kingdom and the United Arab Emirates and moved to Cairo in the late 1980s. As a child, due to his many travels with his parents, he developed an interest in different cultures. While pursuing an MA in Islamic art from the American University in Cairo, he traveled to eastern China to explore historical Chinese mosques.
Wahby further developed his understanding of Islamic art, architecture, and culture by completing a PhD in the Oriental Department of the Otto-Friedrich University, School of Human Sciences, Art and Culture, in Bamberg, Germany. His dissertation research investigated the influences of Arab merchants on the shrines and mosques of the Indonesian island of Java in the fifteen and sixteenth centuries. Wahby is currently an assistant professor of design theory in the Faculty of Applied Sciences and Arts at the German University in Cairo.
Major support for CAA’s International Travel Grant Program has been provided by: Getty Foundation