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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.

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.

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 January 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)

Filed under: CAA News

caa.reviews Seeks Editor-in-Chief

The caa.reviews Editorial Board invites nominations and self-nominations for the position of Editor-in-Chief for a three-year term, July 1, 2020–June 30, 2023. This term is preceded by one year of service on the editorial board as editor designate, July 1, 2019–June 30, 2020, and followed immediately by one year of service as past editor. Candidates should have published substantially in the field and may be academic, museum-based, or independent scholars; institutional affiliation is not required. An online journal, caa.reviews is devoted to the peer review of new books, museum exhibitions, and projects relevant to the fields of art history, visual studies, and the arts.

Working with the editorial board, the editor-in-chief is responsible for the content and character of the journal. The editor-in-chief supervises the caa.reviews Council of Field Editors, assisting them in identifying and soliciting reviewers, articles, and other content for the journal; develops projects; and makes final decisions regarding content.

The editor-in-chief attends the caa.reviews Editorial Board’s three meetings each year—held in New York in May and October and once at the Annual Conference in February—and submits an annual report to CAA’s Board of Directors. CAA reimburses the editor-in-chief for travel and lodging expenses for the two New York meetings in accordance with its travel policy, but the person in this position pays these expenses to attend the conference. The editor-in-chief also works closely with the CAA staff in New York and receives an annual honorarium paid quarterly.

Candidates must be current CAA members and should not be serving on the editorial board of a competitive 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. Please send a letter describing your interest in and qualifications for appointment, a CV, at least one letter of recommendation, and your contact information to: caa.reviews Editor-in-Chief Search, CAA, 50 Broadway, 21st Floor, New York, NY, 10004; or email the documents to Publications and Programs Editor Joan Strasbaugh, jstrasbaugh@collegeart.org. Deadline: April 1, 2019; finalists will be interviewed in early May.

caa.reviews Seeks Four Field Editors

In addition, CAA invites nominations and self-nominations for FOUR individuals to join the caa.reviews Council of Field Editors for a three-year term July 1, 2019–June 30, 2022. 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.

The journal seeks four field editors in the following areas:

  • Design History
  • Eighteenth-Century Art
  • Architecture and Urbanism
  • Theory and Historiography

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 yearly at the CAA Annual Conference. Field editors must pay travel and lodging expenses to attend the 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 competitive 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. Please send a cover letter describing your interest in and qualifications for appointment, a CV, and your contact information to: caa.reviews Editorial Board, CAA, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to staff editor Joan Strasbaugh, jstrasbaugh@collegeart.org. Deadline: April 15, 2019.

Filed under: caa.reviews, Publications, Service

CWA Picks for January 2019

posted by January 14, 2019

A work by Skylar Smith on view in Feminist Expressions at Kaviar Gallery through January 19, 2019.

CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship to share with CAA members on a monthly basis. See the picks for January below.

FEMINIST EXPRESSIONS: INVITATIONAL SHOW FEATURING KENTUCKY FOUNDATION FOR WOMEN ARTIST ENRICHMENT GRANTEES

November 30, 2018 – January 19, 2019
Kaviar Gallery, Louisville, KY

Kentucky isn’t exactly thought of as the feminist mecca. But seventeen invited artists from around this Southern state present poignant artwork around highly charged social topics such as immigration, femicide, media and materiality, food and animal abuse, astrology, pollution and more. Whitney Withington’s intimately hand-crafted journals feature vintage vernacular photography from Appalachia, reversing the trend of invisibility of African American women in Appalachian imagery and literature. Dijana Muminovic, an artist who survived the Bosnian War, exhibits a keen and affecting photograph reflecting Bosnian women and their search for separated loved ones. Diane Kahlo pays homage to the disappeared/murdered young women of Ciudad Juárez, Mexico’s via her small, richly hued portraits with an altar adorned with sequined skulls and ceramic roses.  Through her sensual quilted works, Jennifer Hart combines the warmth of fabric with the brashness of pornography to re-humanize the dehumanized nude female body. The 17 artists exude a stellar combination of aesthetic and the boldness and excellence necessary to make real change, significantly in a lesser recognized area.

Anni Albers

October 11, 2018 – January 27, 2019
Tate Modern

Bringing together more than 350 objects, this retrospective exhibition of the Bauhaus-trained weaver, whose 1965 text On Weaving has been a standard-bearer in the realm of fiber arts. In Open Letter, a wall-hanging from 1958, Albers produced a cacophony of patterns using only black, white, and a minimal amount of copper-colored thread. Mathematically precise the tapestry scintillates with a seemingly improvisatory energy. Each of the works on display merit close and persistent looking—their gifts both readily available and hidden in the warp and weft of Albers’ keen compositional intelligence. Of particular interest is the fact that the curators have gathered together source material that informed Alber’s On Weaving, and thus one also gets the picture of Albers as inveterate magpie, collector, and cultural connector.

In 1939 Albers wrote about material, and the benefits of artistic perseverance: “But most important to one’s own growth is to see oneself leave the safe ground of accepted conventions and to find oneself alone and self-dependent. It is an adventure which can permeate one’s whole being. Self-confidence can grow. And a longing for excitement can be satisfied without external means, within oneself; for creating is the most intense excitement one can come to know.” The sagacity that comes with self-sufficiency is on full display here, even if Albers is still only mentioned in surveys of Western Art History as a footnote to her husband’s artistic and teaching career. Hopefully this exhibition and its accompanying catalog go a ways toward changing that.

Let’s Try Listening Again, 13th A.I.R. Biennial

January 9 – February 3, 2019
A.I.R. Gallery

In an attempt to locate empathy as an enactment the curators of the 13th A.I.R. Biennial, Sarah Demeuse and Prem Krishnamurthy, have gathered twenty-nine works that work to reengage the radical activity of listening. A part of feminist and critical race conversations for decades, listening has been a central focus of cultural forms such as consciousness-raising and witnessing. Placing a premium on this important component of political awakening and action, the curators seek to orient viewers towards “novel forms of communing,” incorporating rest, pause, and reflection. Participating artists include: Angeli, Angie Keefer, Anna Riley, Catalina Viejo López de Roda, Dulce Gómez, Fotini Vurgaropulou, Hagen Verleger, Irene Mohedano, Jane Long, Johanna Unzueta, Julie Nagle, Karen Donnellan, Katie Hector, Katja Mater, Katy Mixon, Keren Benbenisty, Kyoung eun Kang, Library Stack, Lukas Eigler-Harding, Malin Abrahamsson, Maren Henson, Matthew Schrader, Olivia Baldwin, Romily Alice Walden, Sari Carel, Scaleno Collective, Shuyi Cao, Suzanne Mooney, Tselote Holley, and Zhenya Plechkina. Opening events included a performance by Angeli (with Jayoung Yoon); closing events will incorporate a performance by Irene Mohedano and the launch of Romily Alice Walden’s A Primer on Working with Disabled Group Members for Feminist / Activist Groups.

CLAIRE PARTINGTON: TAKING TEA

December 7, 2018 – December 6, 2020
Seattle Art Museum

British ceramicist artist Claire Partinginton’s work flips the typical script of the Seattle Art Museum’s Porcelain Room for a whole two years, demonstrating a strong sense of acknowledgement of institutional limitations. Taking Tea is the first ever installation in the visitor favorite Porcelain Room since its debut in 2007. The Porcelain Room includes more than 1,000 European and Asian porcelain pieces from SAM’s collection grouped to evoke porcelain as a treasured commodity between the East and the West. This is precisely where the artist’s inspiration lies, within the European tradition of appropriation and reinterpretation or misinterpretation of “exotic” styles. She writes, “I like the idea of getting it slightly wrong and the bluffing and ‘cobbling together’ of styles that has resulted in some fantastic historical objects.” The results are familiarly finely crafted ceramics of pristine, richly adorned figures with contemporary details and jolting couplings, an installation referencing Baroque painting and European porcelain factories, as well as a panel mounted with fragments from 17th- and 18th-century shipwrecks.  A group of four in fancy attire pose as if “taking tea” while a single figure lay, stomach down, in the middle of their fine affair, reflecting the troubling aspects of the era they depict, yet resonating with the still continued issues with international trade and economy. It’s sure to be a trip!

Filed under: CWA Picks

Barbara Bergstrom and Darden Bradshaw

posted by January 14, 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, Barbara Bergstrom and Darden Bradshaw discuss what makes an art education program successful.

Dr. Barbara Bergstrom is an assistant professor of art education at Bowling Green State University. Dr. Darden Bradshaw is an assistant professor of art education at the University of Dayton.

Filed under: CAA Conversations, Podcast

New in caa.reviews

posted by January 11, 2019

Jordan Bear reviews Inadvertent Images: A History of Photographic Apparitions by Peter Geimer. Read the full review at caa.reviews.

Nina Athanassoglou-Kallmyer writes about Exiled in Modernity: Delacroix, Civilization, and Barbarism by David O’Brien. Read the full review at caa.reviews.

Filed under: caa.reviews, Uncategorized

News from the Art and Academic Worlds

posted by January 09, 2019

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Art historian and BBC star Sister Wendy Beckett passed away in December at the age of 88. Photo: Associated Press, via Smithsonian Magazine

The Smithsonian Museums Have Fallen Victim to the Government Shutdown, Closing Until Further Notice

As the lapse in funding continues, all 19 Smithsonian museums in New York and Washington, DC, have been forced to close their doors. (artnet News)

Remembering Sister Wendy Beckett, Beloved Nun Who Made Art Accessible

The famed art historian and BBC star passed away in December at the age of 88. (Smithsonian Magazine)

MLA Awarded Million-Dollar Mellon Grant to Support Teaching at Community Colleges

The grant will allow 144 doctoral students and instructors at community colleges to conduct pedagogical research. (MLA)

Six Big Ideas That Gripped the Art World in 2018, From ‘Platform Capitalism’ to ‘Chthulucene’

Looking back on new terms, concepts, and trends that resonated. (artnet News)

The Invisible Faculty

By not standing up for adjuncts, have tenure-track professors undermined their own power? (Chronicle of Higher Ed)

See Inside the All-Female Conservation Studio Dedicated to Saving Renaissance Treasures From the Ravages of Time

For nearly 30 years, Italian conservators Valeria Merlini and Daniela Storti have worked to restore some of art history’s greatest treasures. (artnet News)

Filed under: CAA News

Kirk Maynard and Alexandra Thomas

posted by January 07, 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, Kirk Maynard and Alexandra Thomas discuss addressing institutionalized discrimination through artistic practice.

Kirk Maynard is a mixed media artist born in Brooklyn, New York in 1993. He received his BS in Visual Arts Education from Andrews University in 2014 and is currently an MFA student at New Jersey City University. A second generation Guyanese-American, Maynard’s work focuses on the political undercurrents of culture and identity in America.

Alexandra M. Thomas is a PhD student at Yale for History of Art and African American Studies with a certificate in Women’s, Gender & Sexuality Studies. Her current research interests include global modern and contemporary art, Black atlantic visual culture, African art, queer theory, performance studies, and Black feminist thought.

Filed under: CAA Conversations, Podcast

New in caa.reviews

posted by January 04, 2019

Anna Russakoff reviews In the Skin of a Beast: Sovereignty and Animality in Medieval France by Peggy McCracken. Read the full review at caa.reviews.

Emma McClendon writes about Heavenly Bodies: Fashion and the Catholic Imagination by Andrew Bolton. Read the full review at caa.reviews.

 

 

Filed under: caa.reviews