CAA News Today

Women’s suffragists parade in New York City in 1917, carrying placards with the signatures of more than a million women. (New York Times Photo Archives)

In collaboration with the Committee on Women in the Arts, CAA seeks to offer a selection of sessions, papers, speakers, and related programming for the 2020 Conference in celebration of the Centennial of Women’s Suffrage in the US, while also acknowledging the discriminatory practices that limited voting rights for Indigenous women and women of color, even after the passage of the 19th amendment in 1920.

We hope 50% of the conference’s content will be focused on women-centered research, artistic presentations, and discourse, and addresses the intersectional and transnational complexity of race, ethnicity, class, age, body size, disability, gender and sexual orientation in the arts. Reinforcing inclusivity beyond binary understandings of gender, this initiative seeks to advance a forum for increased dialogue within the context of this historical moment.

The submissions portal for the 2020 CAA Annual Conference is now open with a deadline of April 30.

Submit a Proposal

Filed under: Advocacy, Annual Conference — Tags:

David Modler and Sam Peck

posted by April 15, 2019

The weekly CAA Conversations Podcast continues the vibrant discussions initiated at our Annual Conference. Listen in each week as educators explore arts and pedagogy, tackling everything from the day-to-day grind to the big, universal questions of the field.

CAA podcasts are on iTunes. Click here to subscribe.

This week, David Modler and Sam Peck discuss art education and collaboration.

David R. Modler is an associate professor of Art Education in the Department of Contemporary Art at Shepherd University in Shepherdstown, West Virginia.

Sam Peck currently works and studies at the University of Minnesota as a PhD student, resident artist, art educator, and researcher.

Filed under: CAA Conversations, Podcast

Affiliated Society News for April 2019

posted by April 11, 2019

Affiliated Society News shares the new and exciting things CAA’s affiliated organizations are working on including activities, awards, publications, conferences, and exhibitions.


We are delighted to welcome the following organizations to CAA:

  • Digital Art History Society
  • William Morris Society in the United States
  • International Council of Fine Arts Deans
  • Association of Scholars of Christianity in the History of Art
  • Association of Greek Art Historians
  • Society for the History of Collecting

Interested in becoming an Affiliated Society? Learn more here.

Historians of German, Scandinavian, and Central European Art and Architecture (HGSCEA)

HGSCEA was well represented at CAA by members who presented papers and chaired sessions, and whose latest publications could be found in the book exhibition. Of particular note was our sponsored session, “Women Artists in Germany, Scandinavia, and Central Europe, 1880-1950,” chaired by Kerry Greaves. Her introductory remarks and concluding comments framed four excellent papers by Emil Leth Meilvang on Rita Kernn-Larsen, Nora Butkovich on women in the Young Yiddish Group in Poland, Lauren Hanson on Mary Bauermeister, and Lynette Roth on Anneliese Hager. On the conference’s last day, Paul Stirton offered members a special tour of the exhibition “Jan Tschichold and the New Typography,” which he curated at Bard Graduate Center.

Over sixty members, many in metallic attire for the Bauhaus centenary, attended the annual dinner. In the course of the convivial evening, the results of the 2018 Emerging Scholars Prize were announced. Anne Reimers (University of the Creative Arts Rochester, UK) received an honorable mention for “Inscribing Temporality, Containing Fashion: Otto Dix’s Portrait of the Dancer Anita Berber Contextualized,” in Art History. The winner was Greg Bryda (Barnard College), who was awarded the prize for “The Exuding Wood of the Cross at Isenheim,” in The Art Bulletin. In addition, we celebrated the achievements of Maria Makela on the occasion of her retirement. Adrian Sudhalter spoke to the impact of Maria’s scholarship, and Ricki Washton-Long reflected on her important contributions to HGSCEA.

At the business meeting, the Board amended the bylaws to ensure that in the future the Board includes representatives from all three areas that constitute HGSCEA. It also deliberated on the pool of submissions for the guaranteed session at the 2020 conference, accepting the proposal of Hyewon Yoon and Jordan Troeller, “A Foreign Eye: Photography, Women, and Global Encounters in the Twentieth Century.”

For pictures of the session, dinner, and curator’s tour, go to:

National Council of Arts Administrators

  • NCAA welcomes three new board members, Jonathan Fohrman, MiraCosta College, CA, Sarah Meyer, California Poly Pomona, and Michael Wille,  Illinois State University to the NCAA Board of Directors.

The current list of board members include:

Lynne Allen, Boston University

Elissa Armstrong, Virginia Commonwealth University
Past President

Peter Chametzky, University of South Carolina

Cathy Pagani, The University of Alabama

Andrea Eis, Oakland University
Past Treasurer 

Colin Blakely, University of Arizona

Jeni Mokren, SUNY New Paltz

A.Blake Pearce, Valdosta State University

Joe Poshek, Irvine Valley College

Michael Fels, Elon University

Jade Jewett, California State University, Fulteron

David LaPalonbara, Ohio University

  • The next NCAA conference will be hosted by Kate Bonansingakn, University of Cincinnati, Matt Albritton, Northern Kentucky University and Paige Williams, Art Academy of Cincinnati. We hope to see everyone in Cincinnati September 17-22,2019!  Check it out on our website.
  • It is with great pleasure that we open our NEW website which offers news of the upcoming conference, current open positions, and access to other resources. Please check it out

Association for Latin American Art

ALAA Reception at Orange Door Chicago (Marilynn and Carl Thoma Gallery). Pictured left to right: Marilynn Thoma, Erin Fowler (Director of Strategic Initiative, Thoma Art Foundation), Delia Cosentino (Triennial Chair)

The Association for Latin American Art hosted its 5th Triennial Conference “The World Turned Upside Down: Arts of Oppression and Resistance in the American Hemisphere” from March 7-9, 2019 at the Art Institute of Chicago and DePaul University. In addition to a wonderful selection of panels, the conference included tours of the Smart Museum’s holding of Latin American art at the University of Chicago and the exhibition Super/Natural: Textiles of the Andes at the Art Institute of Chicago, a keynote lecture “Social Disequilibria: of Bodies and Borders” by Dr. Adriana Zavala, Tufts University, at the National Museum of Mexican Art, and a reception at the Orange Door Chicago (Marilyn and Carl Thoma Gallery).

Art Institute of Chicago’s Elizabeth Pope & Erica Warren Tour of Super/Natural: Textiles of the Andes

Appraisers Association of America

15th Annual Award Luncheon honoring cultural anthropologist, author and museum director Johnnetta Betsch Cole, Ph.D., and visual artist Mickalene Thomas, whose work of African American women examine, extend, and subvert concepts of female identity and beauty.Dr. Cole and Ms. Thomas will be presented with the 2019 Award for Excellence in the Arts on Wednesday, April 17, 2019 at the New York Athletic Club.

For tickets and sponsorship opportunities please click here. Or by calling 212-889-5404 x11.


Announcement Award

Prof. Damiano Acciarino, Univerisità Ca’ Foscari Venezia and University of Toronto, who holds A Marie Curie Global Fellowship (2017-2020) was the first recipient of ATSAH award for his innovative and scholarly research on Renaissance antiquarianism published in Lettere sulle Grotteche (Rome: Aracne, 2018).

Professional Recognition

Liana De Girolami Cheney, President of ATSAH, received the Albert Nelson Marquis Lifetime Achievement Award

William Levin contributes a second award to SECAC for scholarly Research in the History of Art Since 1750. The previous award was for Research in the History of Art Before 1750.

Member’s publications

Sara Nair James. “Wit and Humor in Ugolino di Prete Ilario’s Life of the Virgin at Orvieto,” Source: Notes in the History of Art vol 36, no.3-4 (Spring/Summer 2017), 159-67.

Davide Lacagnina, “Spreading Visual Culture: revues, images et archives pour l’art contemporain,”  In H.V. E. Stead, ed L’Europe des revues II (1860-1930). Réseaux et circulations des modèles  (PARIS: PUPS-Presses de l’université Paris-Sorbonne, 2018), pp. 829-852.

Émilie Passignat, “‘Manière’, ‘maniéré’, ‘maniériste’: transferts et enjeux théoriques autour d’un terme clé du vocabulaire artistique”, in M.-C. Heck, M. Freyssinet, S. Trouvé (eds.), Lexicographie artis- tique: formes, usages et enjeux dans l’Europe moderne, Montpellier, 2018, pp. 363-376.

Liana De Girolami Cheney, “Il Tesoretto of Cosimo I de’ Medici: An Esoteric Heaven,” in Lilian Zirpolo, ed. Esoteric Traditions and Their Impact on Art (Ramsey, NJ: Zephyrus Scholarly Publications LLC, 2019) (ISBN number: 978-0-997-2446-2-5)

Liana De Girolami Cheney, “Edward Burne-Jones’s The Mirror of Venus: Physical and Intangible Female Beauty,” Journal of Literature and Art Studies, Vol. 19, No. 1 (January 2019):1-28.

American Institute for Conservation

We are proud to announce that we have launched a new name, look, and message for AIC and FAIC! The American Institute for Conservation of Historic and Artistic Works is now simply the American Institute for Conservation. The foundation is now the Foundation for Advancement in Conservation. The acronyms are the same, but our message is more direct: we preserve and protect cultural heritage. We’re reinforcing this message with a new online presence: AIC President Margaret Holben Ellis explains the necessity of our new identity in this video. We welcome you to explore our new online presence and let us know what you think. You can provide feedback via email to

Throughout this process, we considered how we could make our field more welcoming and engaging to all practitioners in the arts, humanities, and allied professions. We would like to invite everyone to learn more about conservation and support the essential work performed by conservators and preservation professionals. Friends of Conservation receive exclusive insights into conservation while sustaining programs that promote the preservation of cultural heritage through their gift to FAIC. Learn about the benefits of being a Friend and how you can help support the work of conservators here:

Women’s Caucus for Art

Call for Panel Proposals at CAA

Women’s Caucus for Art invites submissions for a panel to be held at the CAA conference in Chicago. WCA hosts a conference concurrent with CAA, with some panels happening on site at CAA, and our 2020 theme is Intersectionality. Sessions are 90 minutes and may take the form of panels or roundtable discussions. We welcome submissions of topics for an open call as well as submissions with panel participants already identified.

To apply, please send panel title, 250-word abstract, and short CV to WCA President Margo Hobbs, at

Proposals are due April 21, 2019. Selections will be made by the WCA Executive Board and the Conference Committee. Applicants will be notified of decisions by April 28, 2019.

Digital Art History Society

The new Digital Art History Society (DAHS), launched on January 1, 2019, inspired by “Art History in Digital Dimensions,” hosted in October 2016 by the Department of Art History and Archaeology and the Maryland Institute for Technology in the Humanities (MITH), University of Maryland, College Park, with support from the Getty Foundation and the Samuel H. Kress Foundation (see:

The Digital Art History Society (DAHS) supports art historical scholarship incorporating and benefitting from digital strategies and technologies. Its website ( and listserv promote communication about resources and opportunities for its members. Membership in 2019 is free; dues will subsequently increase to $25.00 to defray administrative costs.

DAHS presented “Constructing Criticality in Digital Art History,” at CAA’s 2019 meeting ( Its 2020 session will examine new scholarship enabled by digital techniques and strategies. DAHS looks forward to collaborating with other CAA Affiliates.

Founding Board: President, Anne Collins Goodyear; Vice President for Programming: Pamela Fletcher; Vice Presidents for Outreach: Deena Engel and Charles R. Johnson; Vice Presidents for Membership: Meredith Gill and Paul Jaskot; Vice Presidents for Communications: Jennifer Henel and Ellen Prokop; Treasurer: Anne Helmreich.

Upcoming events (free,but online registration is required. Please visit to register. Meet at 1 East 70th Street, NYC):

Lecture: “Artist Archives Initiative: New Research Models for Contemporary Artists,” Thursday, May 2, 4:00 p.m. to 6:00 p.m. The Frick Collection and Frick Art Reference Library, New York. Deena Engel, Clinical Professor, Computer Science, NYU, and Glenn Wharton, Clinical Professor, Museum Studies, NYU.

Workshop: “The Lenox Library Picture Gallery: A Digital Recreation,” Wednesday, June 5, 4:00 p.m. to 6:00 p.m. The Frick Collection and Frick Art Reference Library, New York. Sally Webster, Professor Emerita, Lehman College and the Graduate Center, CUNY, and David Schwittek.

Midwest Art History Society

The Midwest Art History Society (MAHS) recently concluded its annual conference in Cincinnati where participants were warmly welcomed by local institutions — especially the Cincinnati Museum of Art (CAM) and the Taft Museum of Art which both hosted scholarly sessions. The keynote lecture was delivered by S. Hollis Clayson, Bergen Evans Professor in the Humanities at Northwestern University, in association with CAM’s exhibition Paris 1900: City of Entertainment featuring works drawn from the collections of the City of Paris museums. At the annual business meeting, Erica Warren, Art Institute of Chicago, was elected the organization’s treasurer. Plans are well underway for the 2020 annual conference which will be held in Houston, March 19-21. The call for papers will be posted on the MAHS website in the fall and hotel rooms can already be reserved at the Magnolia Hotel Houston. For more information, please visit the website at


SECAC 2019, Chattanooga, TN, October 16-19: The 75th annual SECAC Conference will take place in Chattanooga, Tennessee, October 16-19. The conference will include more than 130 sessions exploring topics of scholarly importance and timely cultural issues impacting the fields of art history, art education, graphic design, and studio art. SECAC 2019 will examine the place of the institution amongst current political turmoil, explore studio and art historical research related to parenthood, develop strategies for supporting each other, and unpack how designers engage with their communities, amongst dozens of other topics. The Chattanoogan will serve as the conference hotel and hub, located in the heart of downtown and steps away from many cafes, restaurants, and attractions. Beyond conference sessions, opportunities to come together and experience the city will include a keynote address by Sharon Louden, visual artist and Artistic Director of Chautauqua Institution’s Visual Arts Program, at the Hunter Museum of American Art and the SECAC Juried Members and Artist Fellowship exhibitions, juried by visual artist and curator Amelia Briggs and presented with Stove Works, a new residency program and exhibition space located in Chattanooga. See for more information.

Levin Awards for Research in Art History: Inspired by the friendships, professional advancement, and opportunities for exchange of scholarly research that SECAC supports, William R. Levin has made a second major gift to SECAC. Beginning in 2019, SECAC will award two $5,000 research grants in art history each year. The original Levin Award (2014) will be designated for Research in the History of Art Before 1750 and the new Levin Award will be for Research in the History of Art Since 1750.

SECAC at CAA: Below the Mason-Dixon Line: Artists and Historians Considering the South, organized by Rachel Stephens of the University of Alabama, featured five presentations: Naomi Slipp’s paper, “Between Two Worlds: Portrait of William McIntosh, Southern Slave Owner and Lower Creek Chief;” Jeremiah Ariaz on photographs from his volume, The Louisiana Trail Riding Clubs; Catherine Wilkins and Jared Ragland on Ragland’s wet-plate collodion project, “Where You Come From is Gone;” artist Kristin Casaletto on the impact of living in the South on her work; and Nell Gottlieb on her ongoing project on returning to her Southern roots, “Nostos Algos.”

In memoriam: SECAC mourns the passing of Past-President Charles (Randy) Mack. Mack joined SECAC in 1970 and played an active role in the organization for 35 years, serving twice as president (1975-76, 2003-05), as vice-president (2000-03), and as board member from 1984-90. He also co-edited the SECAC Review (1973-75) and chaired the Annual Conference (1976). In 1993, he received SECAC’s Award for Outstanding Exhibition and Catalogue of Historical Materials; in 1998, he was the recipient of the Annual Award for Scholarly Research and Publication; and in 2004, he received SECAC’s highest honor, the Award of Distinction.

Society of Historians of Eastern European, Eurasian, and Russian Art and Architecture (SHERA)

The board of the Society of Historians of Eastern European, Eurasian, and Russian Art and Architecture (SHERA) is pleased to announce the inauguration of the SHERA Graduate Student / Independent Scholar Research Grant.  The grant of $500 will be awarded to one member for research and/or study toward the completion of a thesis, dissertation, or publication. The grant is intended to be used toward the cost of research travel or accommodations, the acquisition of image rights for publication, language study, and other related activities. For the 2019 competition, applications are limited to graduate students and scholars who do not hold a full-time position at an academic institution. Applicants must be SHERA members in good standing and must have membership in the organization for at least two consecutive years. For more information, see the notice here.

The conference “Eclecticism at the Edges: Medieval Art and Architecture at the Crossroads of the Latin, Greek, and Slavic Cultural Spheres c.1300–c.1550,” of which SHERA was a sponsor, was held at Princeton University on April 5 and 6. The symposium, organized by Dr. Alice Isabella Sullivan, Ph.D. (University of Michigan) and Dr. Maria Alessia Rossi, Ph.D. (The Index of Medieval Art, Princeton University), is the first such initiative to explore, discuss, and focus on the art, architecture, and visual culture of regions of the Balkans and the Carpathians (c.1300-c.1550). The conference sought to raise issues of cultural contact, transmission, and appropriation of western medieval, byzantine, and Slavic artistic and cultural traditions in eastern European centers and consider how this heritage was deployed to shape notions of identity and visual rhetoric in these regions from the fourteenth through the sixteenth centuries. Dr. Jelena Erdeljan of the University of Belgrade delivered the keynote address.


Donations may be made in Marshall Ward Mount’s memory to the African Wildlife Fund.

To contribute to the Christopher D. Roy Memorial Fund, go to // This fund will give UI art history students the opportunity to gain valuable intern experience at the Stanley Museum of Art.

  • Congratulations to ACASA board member Shadreck Chirikure (Professor, Department of Archaeology at the University of Cape Town) who received a British Academy Professorship in the School of Archaeology at Oxford and will be joining the School in 2019. Dr Chirikure will be researching archaeometry and precolonial African urban social formations. Shadreck Chirikure’s Archaeological Materials Laboratory is Africa’s only facility dedicated to the study of pyrotechnology practiced by farming communities of the last 2000 years of the sub-Saharan past. The announcement can be found here:
Filed under: Affiliated Societies

News from the Art and Academic Worlds

posted by April 10, 2019

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The congressional leaders who are spearheading the charge for a Smithsonian Women’s History Museum. Courtesy American Museum of Women’s History Congressional Commission, via artnet News.

Will the United States Finally Get a National Women’s History Museum? Congress Just Introduced Two Bipartisan Bills to Build One

Susan Collins and Diane Feinstein have teamed up on the Senate bill, while Carolyn Maloney has introduced companion legislation in the House. (artnet News)

The Implicit Punishment of Daring to Go to College When Poor

Only nine percent of people from the lowest income quartile receive a bachelor’s degree by the age of 24, compared to 77 percent for the top income quartile. (New York Times)

Will Artificial Intelligence Make the College Classroom More Accessible?

New tools designed to help institutions meet accessibility requirements could possibly personalize learning for all students. (Education Dive)

Audience Engagement Is Not Community Engagement

An important distinction on two widely used terms. (Americans for the Arts)

Art Institute Postpones Major Native American Pottery Exhibit over Cultural Insensitivity Concerns

The postponement occurs against a backdrop of museums’ increasing sensitivity to the cultures they present. (Chicago Tribune)

This Is How You Kill a Profession

“College faculty were not defeated after great struggle, after a battle with a winner and a loser. College has simply been redefined, over and over, in ways that make faculty irrelevant.” (Chronicle of Higher Ed)

Filed under: CAA News

Welcome to CAA’s New Affiliated Societies

posted by April 08, 2019

Active since the 1970s, CAA Affiliated Societies program promotes learned societies focused on particular areas of art history, art making, or design.

We are delighted to welcome the following organizations as new affiliated societies of CAA:

  • Digital Art History Society
  • William Morris Society in the United States
  • International Council of Fine Arts Deans
  • Association of Scholars of Christianity in the History of Art
  • Association of Greek Art Historians
  • Society for the History of Collecting

A complete list of current members appears here.


Digital Art History Society (DAHS)
Founded: 2019
Membership: 340+
Annual Dues: none for 2019, $25 thereafter
The Digital Art History Society (DAHS) fosters and supports the practice and publication of art historical scholarship incorporating and benefiting from digital strategies and technologies by providing a forum for presenting and advancing digital art history, examining problems confronting the field, and identifying scholarly needs and opportunities to its members.

William Morris Society in the United States (WMS)
Founded: 1971
Membership: 199
Annual dues: $50 regular members; $30 students; $65 libraries
The William Morris Society in the United States seeks to further appreciation of Morris as a designer, craftsman, medievalist, preservationist, printer, socialist, poet, and author. We also encourage interest in Morris’s friends, associates, and contemporaries in Britain and America who were connected with the Pre-Raphaelites, Victorian art and literature, and the Arts and Crafts movement.

International Council of Fine Arts Deans (ICFAD)
Founded: 1964
Membership: 363
Annual dues: $450 for institutional membership
Founded on a shared passion and advocacy for the arts and a commitment to excellence in leadership, the International Council of Fine Arts Deans (ICFAD) is a multinational alliance of executive arts administrators representing institutions of higher education.

The Association of Scholars of Christianity in the History of Art (ASCHA)
Founded: 2010
Membership: 40
Annual Dues: currently none
The Association of Scholars of Christianity in the History of Art (ASCHA) is dedicated to the facilitation and promotion of scholarship that examines the historical and contemporary relationship between Christianity and the visual arts.

Association of Greek Art Historians (EEIT)
Founded: 2001
Membership: 179
Annual dues: 50 Euros
EEIT advances the study of art and the discipline of art history in Greece.

The Society for the History of Collecting (SocHistCol)
Founded: 2015
Membership: 180
Annual Dues: $25.00 (£18.00) regular membership; $15.00 student membership (£10.00) institutional membership $60.00 (£40.00)
The Society is an international not-for-profit organisation, bringing together scholars from diverse disciplines, as well as collectors, museum curators, and those of the general audience who are passionately interested in the study of collecting in all its ramifications, including the relationships between collecting and the art market.

Filed under: Affiliated Societies

Maggie Guggenheimer and Ellen Oh

posted by April 08, 2019

The weekly CAA Conversations Podcast continues the vibrant discussions initiated at our Annual Conference. Listen in each week as educators explore arts and pedagogy, tackling everything from the day-to-day grind to the big, universal questions of the field.

CAA podcasts are on iTunes. Click here to subscribe.

This week, Maggie Guggenheimer and Ellen Oh discuss how arts professionals contribute as contingent faculty.

Maggie Guggenheimer is Director of External Relations for Virginia Humanities (University of Virginia).

Ellen Oh is Director of Programs in the Office of the Vice President for the Arts at Stanford University.

Filed under: CAA Conversations, Podcast

New in

posted by April 05, 2019

Nancy Kellar discusses Real Fake: The Story of a Zapotec Urn, edited by Justin Jennings and Adam T. Sellen. Read the full review at

Carl Lounsbury writes about Building Reputations: Architecture and the Artisan, 1750–1830 by Conor Lucey. Read the full review at

Filed under:

Member Spotlight: Nazar Kozak

posted by April 04, 2019

Nazar Kozak at the 2019 CAA Annual Conference. Photo: Ben Fractenberg

Up next in our Member Spotlight series, we are highlighting the work of Nazar Kozak, senior research scholar in the Department of Art History in the Ethnology Institute at the National Academy of Sciences of Ukraine, and an alumnus of the CAA-Getty International Program. Joelle Te Paske, CAA’s media and content manager, corresponded recently with Professor Kozak to learn more about his experiences at the Annual Conference, his current research, and his tips for scholars looking to extend their work internationally.

Joelle Te Paske: Hi Professor. Thanks for taking the time for our interview. So to begin, where are  you from originally? What is the focus of your research?

Nazar Kozak: I am from Lviv, Ukraine, and I work in two fields simultaneously: medieval and contemporary art. The first one emerged from my interest in the cultural heritage of the region in which I live. My ongoing research in this field is focused on the sixteenth-century iconographic migrations of the Akathistos cycle across the post-Byzantine world from Venetian Cyprus in the South to the Tsardom of Muscovy in the North. Through this, I aim to discover artistic connections within this politically segmented realm that are not readily visible through archival data and thus to problematize nationalist narratives that have dominated Eastern European scholarship in the past. My second specialization emerged in recent years when issues of social justice and war came into the forefront in my country. I was driven to document and re-think artistic responses to the turmoil of events and through this to make my art history relevant to the times I am living through socially and politically. Currently, I am working on an article that explores how border art resists a global biopolitical divide.

Akathistos cycle on the south facade of the Dormition Church in Humor, 1535. Photo: Nazar Kozak

JTP: What is your favorite thing about being a CAA member? Do you have a favorite memory?

NK: My favorite part of being a member is attending the Annual Conference. I remember the reaction of the audience to my talk at the Global Conversation session in 2017 when I shared my personal crisis in finding a motivation to continue writing art historical research when war broke out in my country and how I eventually found that motivation. The room was crowded and I remember the anxiety that I had before the session and the confidence I felt when I spoke and also during several moving conversations I had with attendees afterwards. That talk was published on the CAA website.

JTP: What is the most exciting part of your work currently?

NK: Currently and always the most exciting moment is when I realize that my work on a scholarly project is done; that is, when I can confirm my intellectual hypothesis and substantiate it with evidence that I genuinely believe to be true for now. This feeling, of course, does not last forever.

JTP: What would you say are some of the challenges?

NK: The major challenge is to find a sustainable answer for the Why question: Why am I writing a particular paper or monograph? And not just a random answer to tell others, but an answer I can tell myself and stick with, at least until I finish writing. The access to material and writing itself is a challenge, of course, but I think when you know your stake in it you can handle all the rest.

A view of Independence Square in Kyiv after violent clashes with the police during the Maidan Revolution, January 21, 2014. Photo: Borys Harasymiv

JTP: What is a favorite study you’ve worked on over the years? Any recommendations for our readers?

NK: Right now it is my article on art interventions during the Ukrainian Maidan revolution published in Art Journal in 2017.

I would recommend Decolonizing Nature: Contemporary Art and the Politics of Ecology by T.J. Demos, because it is a great piece of engaging scholarship and because art and ecology is a crucial issue that is relevant to us all.

For those who are interested in online resources on Byzantine art I would recommend The Digital Research Archive for Byzantium (DIFAB) and North of Byzantium.

JTP: What is your experience with Humanities Commons and the CAA-Getty program?

NK: I have used Humanities Commons several times as a platform for online discussions which have worked well as a supplement for in-person exchanges. Among other online platforms that I use is though I see its commercialization as controversial. The CAA-Getty International Program is the major vehicle that facilitates scholars from countries where art history has fewer resources than in West Europe or North America to bring their voice and to build their professional networks on the global scale. I participated in that program three times: first as a scholar and twice as an alumnus. This year I was selected to collaborate with the program’s director Janet Landay and the current CAA International Committee chair Pearlie Rose Baluyut to design and moderate the preconference colloquium on international topics in art history and I was honored to have that opportunity not only for my benefit but to contribute to the program as well. I might add that because of my work with the CAA-Getty program I have recently joined CAA’s International Committee, where I look forward to continuing to work on recruiting and interacting with international scholars.

Map of home institutions of 2019 CAA-Getty International Program participants. Learn more.

Nazar Kozak is a senior research scholar in the Department of Art History in the Ethnology Institute at the National Academy of Sciences of Ukraine. Previously he also taught at the Medieval and Byzantine Studies Department at the Ivan Franko National University of Lviv. After receiving his PhD from the Lviv Academy of Arts in 2000, he spent a year in Greece under the auspices of the State Scholarships Foundation (IKY). Kozak is a recipient of research and publication grants from the American Council of Learned Societies (ACLS) and an alumnus of the CAA-Getty International Program. In 2016-2017, he was a visiting Fulbright Scholar in The Ukrainian Museum in New York. Kozak is the author of a monograph on image and authority in Kyivan Rus’ and articles dealing with Byzantine and post-Byzantine wall-paintings preserved in Ukraine. His ongoing research is focused on the sixteenth-century iconographic migrations of the Akathistos cycle across the post-Byzantine world. More recently, Kozak has also begun to work on topics in contemporary art. His article on the art interventions during the Ukrainian Maidan published in the Spring 2017 issue of the Art Journal received an honorable mention as a finalist for that year’s Art Journal Award.

Nazar Kozak (third from top left) and fellow 2019 CAA-Getty International Program participants.

News from the Art and Academic Worlds

posted by April 03, 2019

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Marie-Guillemine Benoist’s “Portrait of a Negress” (1800) has been retitled “Portrait of Madeleine” for a new exhibition at the Musée d’Orsay. Image: Wikimedia Commons

Musée d’Orsay Puts Focus on Overlooked and Anonymous Black Models in French Masterpieces

The exhibition temporarily retitles works featuring historically anonymous Black models to honor their sitters. (Hyperallergic)

Adjunct Professors at Miami Dade College, America’s Largest Undergrad College, Are Unionizing

The new bargaining unit will include as many as 2,800 workers. (Miami New Times)

Poland’s Right-Wing Government Accused of Hijacking Prize-Winning Museum

One of Poland’s most prominent museums has strongly opposed an attempt by the country’s culture ministry to change its structure. (The Art Newspaper)

Though More Women Are on College Campuses, Climbing the Professor Ladder Remains a Challenge

A look at the numbers from Women in the Academy, a longitudinal study conducted from 2003 to 2012. (Brookings)

This Library Takes an Indigenous Approach to Categorizing Books

Xwi7xwa library in British Columbia is decolonizing the way information is sorted, cataloged, and shared. (Yes Magazine)

To Survive, Small Colleges Are Rethinking the Liberal Arts

As higher ed consolidates, these institutions are restructuring curriculum, campuses, and even tuition. (Education Dive)

Filed under: CAA News

CWA Picks for April 2019

posted by April 02, 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 April below.

Video still from Mary Maggic, Housewives Making Drugs, 2017, on view in Producing Futures—An Exhibition on Post-Cyber-Feminisms at the Migros Museum für Gegenwartskunst through May 12th. Courtesy the artist.


March 6 – April 26, 2019
Wright Gallery, Texas A&M University, College Station, Texas

Taking the 2015 arrest and subsequent death of Sandra Bland as its starting point, this exhibition aims to give a platform to women of color to respond creatively to issues around family separation, law enforcement brutality, sexual assault, and violence. Multi-media artist Rabéa Ballin used neon to highlight to represent Sandra Bland’s case number, in Case Number 02-F-00151, bringing attention to identity which is typically lost, and dehumanized in the prison system. Rosine Kouamen’s richly hued Required Solidarity, a fabric work using prints from Cameroon with women and a woman letting a dove go in front of Africa, is embroidered with, according to the artist, “powerful words to emphasize the progress that still needs to happen to have a truly equal society, where women, especially women of color are protected by the law and not victims of it.” Ann Johnson’s two-sided glass quilt, The Narrative, displays the scripted police transcript of Sandra Bland’s traffic stop, and on the other, the traditional “North Star” pattern which guided numerous slaves to freedom, as well as the written names of women who lost their lives to violence or law enforcement, with repeated words, “she matters / say her name / say it” emphasizing the significance of the exhibit; “We must tell these stories,” Johnson writes in her statement, “She matters.” Other equally impactful work in the exhibit includes laser print transparency on wood by Regina Agu, plaster relief and mixed media silhouettes by Lovie Olivia, fabric cast aluminum and mixed media fabrics by Kaneem Smith, and linocuts by Monica Villarreal. The nontraditional multi-colored painted pedestals and walls create an apt, progressive atmosphere for this inspiring art.


March 22 – May 4, 2019
l’étrangère, London

l’étrangère gallery in London brings into conversation the works of Yelena Popova, Joanna Rajkowska, and Jan Eric Visser who critically respond to ecological concerns in the context of industrial capitalism, neo-liberalism and consumerism. It is an intimate exhibition, which encourages reflection  of the material legacy of Modernism. Rajkowska’s site-specific installation entitled Trafostation (2016) is introduced through a photographic documentation. The project, in Wrocław, Poland, turned a defunct 1930s transformer station into a living sculpture, which keeps evolving. The artist encouraged non-human organisms to take over the building and erode the concrete structure by growing plants and creating a new habitat. Rajkowska’s feminist ecological ethics is reflected in Popova’s practice. Called by the artist ‘Medieval Modernism’, it is concerned with the threshold states between the past and the future and the linear and cyclical modes of growth. Post-petrochemical Paintings (2016-ongoing) are made from mixed pigments from soil and wood ash collected by the artist during a number of walks in parks and forests, which are then grind according to medieval recipes. Jan Eric Visser makes sculptures from inorganic household garbage. The process, which he calls ‘Form Follows Garbage’, gives waste a new identity and emphasise the importance of valuing all matter. The artist is also engaged with issues concerning the post-industrial future, which is reflected in his use of two new innovative building materials called Translucent concrete, capable of degrading nitrogenoxides causing smog and Aquadyne, enabling the rooting of plants and vegetables.


February 16 – May 12, 2019
Migros Museum für Gegenwartskunst, Zurich

2017 marked the 20th anniversary of a meeting that took place at Documenta X entitled ‘The First Cyberfeminist International’. Issue that were raised then and revisited in a number of events that followed contributed to the emergence of a new movement branded as post-Cyberfeminism, a term coined in the early 1990s. The group exhibition Producing Futures—An Exhibition on Post-Cyber-Feminisms, including the works of artists such as VNS Matrix and Lynn Hershman Leeson, Wu Tsang,  Guan Xiao and Anna Uddenberg, Juliana Huxtable, Shana Moulton or Anicka Yi, among others, at the Migros Museum für Gegenwartskunst in Zurich explores feminist methods of engagement in the era of developing networked technologies and in the post-internet era, which, on the contrary to what was predicted in 1990s, apart from functioning as spaces of liberation and arguable self-empowerment, introduced disciplining structures reinforcing hierarchies and patriarchal systems of power. Artists involved in the show question the legacy of the cyberfeminist movement, its currency and relevance while working through the intersections between the body, technology and gender across the real and the virtual. Exhibited works engage with Donna Haraway’s proposed alternative model of knowledge formation called “SF,” an abbreviation for “science fiction” but also “speculative feminism,” a practice open to speculations and intellectual experiments where alternative visions of the future may emerge. A number of events are organised in parallel to the exhibition. The Revolution of Digital Languages or When Cyber turns to sound of Poetry. A Symposium on Post-Cyber-Feminisms, organised in cooperation with MAS in Curating, Zürcher Hochschule der Künste and the PhD in Practice in Curating on April 11th and 12th, further explores and engages with issues raised at the show.


March 7 – May 31, 2019
Sixteen Twenty-Eight Gallery, Cincinnati, Ohio

In celebration of Women’s History Month, Cincinnati’s 1628 Gallery devotes their spring exhibition to a juried exhibition featuring work by twenty local self-identifying women artists. The painting, collage, photography, sculpture, fiber art and more, reflect the complexity, challenge and passion of being a contemporary woman, as relayed in the title, referencing poem by Mary Oliver: “it’s a serious thing / just to be alive / on this fresh morning / in this broken world.”  Kim Flora’s mixed media collage, something about those volcanos, too emits the multifaceted, sometimes daunting, sometimes rich, living experience of women through the bright red and orange fiery hues above the torn, charcoal paper and what appears to be a section of a woman in etching, slight smile barely seen in the bottom corner, her body ripped at right. The over thirty other works surely emphasizes the rich breadth of media and perspectives by women in the area in this “curated workspace” in downtown Cincinnati.


March 9 – June 30, 2019
Ararat Gallery TAMA, Ararat, Victoria, Australia

Sera Waters is Adelaide based artist, arts writer and academic, who through her textile work engages with issues concerning boundaries and domesticity, and more specifically the concept of “home” in Australia in the aftermath of colonization. Those places of trauma and hauntings in settler colonial homes she calls “genealogical ghostscapes.” Going Round in Circles presented in Ararat Gallery TAMA explores the boundaries that have shaped Australian life since colonization. Waters calls them ‘geometric discipline’, suggesting structures of discomfort imposed on individuals aimed at disciplining them into docile subjects. She shares her frustration of ‘being stuck in a loop’ understood as repetitiveness and going round the same silencing and colonizing arguments and denials. Textile work, which is performed on the gridded warp and weft of fabric, is in itself an example of a discipline reinforcing social status of women as home makers confined to domestic spaces and their gendered roles often focused on practices of comforting and caring. Waters’s exercises disruptive agency, for example in Sampler for a Colonised land, 2018-2019, by working in repeated loops and rings within textiles’ squares and grids. She uses found materials such as pelts, needlework or wool, among others, to break the boundaries of colonizing structures and enable new patterns for shared togetherness.


From April 22, 2019
Tate Britain, London, UK

On April 22nd Tate Britain opens a new temporary display on its main floor as part of its commitment to increase the visibility of women in Tate’s galleries. It features approximately 60 works from Tate’s collection by around 30 women artists working across diverse media, including Mona Hatoum, Rachel Whiteread, Sarah Lucas, Monster Chetwynd, Susan Hiller and Bridget Riley, among others. The display focuses on narratives in British history from 1960 until the present day, covering a wide range of issues such as immigration, race, class struggle, Britain’s colonial past, sexual identity, feminism, AIDS activism and club culture. Particularly interesting is Black Audio Film Collective’s film Handsworth Songs (1986; directed by John Akomfrah and produced by Lina Gopaul), which was filmed during the 1985 riots in Handsworth and London. It raises not only issues specific to the riots and their cultural, social, and political context but also the continuity of some of those unresolved struggles reflecting on brutal policing and racism and their current insurrections. Tate’s promise to increase the visibility of women artists is reflected in its 2019 program, which features (across its galleries) other exhibitions and displays celebrating women.

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