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CAA 107th Annual Business Meeting Minutes

posted by December 11, 2019

NY, NY 10019


Annual Business Meeting – Part One
Wednesday, February 13, 2019
6:00–7:30 p.m.

Hunter O’Hanian, CAA’s Executive Director and CEO, welcomed attendees to the Convocation and to the Association’s 107th Annual Meeting of its members.

O’Hanian introduced Thomas Finkelpearl, Commissioner of New York City’s Department of Cultural Affairs, who greeted the attendees on behalf of Mayor Bill de Blasio.

O’Hanian then introduced N. Elizabeth Schlatter, CAA’s Vice President for Annual Conference, who extended greetings on behalf of CAA President, Jim Hopfensperger, who was unable to attend due to the cancellation of his flight.

Awards were presented by past CAA presidents: Paul Jaskot, Nicola Courtwright, Dewitt Godfrey, Judy Brodsky and Anne Collins Goodyear.

The keynote address was given by Joyce C. Scott, sculptor, craftsperson and 2016 MacArthur Fellow.


Annual Business Meeting – Part Two
Friday, February 15, 2019
2:00–3:00 p.m.

On Friday, February 15, 2019, at 2:00 p.m., President Hopfensperger called to order Part Two of CAA’s Annual Business Meeting.

Hopfensperger called on Executive Director, Hunter O’Hanian, to report the number of proxies received by the Executive Committee from CAA’s membership. The Executive Committee received 247 proxies, thus creating a quorum to allow voting at the meeting.

Hopfensperger called for the approval of the minutes of the February 21, 2018 Annual Business Meeting held in Los Angeles, California. Tiffany Dugan moved to approve the minutes and Nick Obourn seconded the motion; the minutes were approved.

O’Hanian called on Teresa Lopez, CAA’s Chief Financial Officer, to give the financial report for

Fiscal year 2018. Lopez stated that the Association ended fiscal year 2018 with a deficit of $58,145.

The deficit was lower than the preceding two years since the Association, in 2018, made a 25% reduction in permanent staff costs. CAA’s efforts to match budget expenses to projected revenues continue.

As of June 30, 2018, there were 8,435 individual members, 461 organizational members, and an additional 651 subscribers to The Art Bulletin and/or Art Journal handled through CAA’s co-publisher, Taylor & Francis.

The fair market value of CAA’s investment portfolio on June 30, 2017 was $9,838,150. On June 30, 2018 the balance was $9,514,313.40.  The portfolio continues to be handled by the investment firm of Boston Trust and Investment Management Company under the supervision of the Finance Committee of CAA’s Board of Directors.

Copies of the audited financial statement for FY 2018 compared with FY2017 are available from Ms. Lopez or as a pdf on CAA’s website.

The Board of Directors has elected a new Treasurer, David Raizman, for a four-year term beginning in October 2018.

The number of attendees for this Annual Conference stood at 5,462 as of Friday afternoon, February 15th, 2019.

Hopfensperger called for Old Business. There was none.

Hopfensperger called for New Business and announced the results of the election for new members of the Board of Directors. With 416 votes cast by the CAA membership, the following four individuals were elected to the Board to serve a 4-year term starting in May 2019.

Lynne Allen
Niku Kashef
Ugochukwu-Smooth C. Nzewi
Jennifer Rissler

Hopfensperger expressed appreciation for the candidates’ willingness to serve CAA.

Hopfensperger then reported on the resolution to amend the by-laws. With 416 votes cast by the members, the proposed amendments passed, as presented, with 82% of those voting voted in favor of the amendments, 5% voted against and 13% abstained.  Therefore, the by-laws of College Art Association were amended as presented.

With all official business completed, and no other discussion items proposed, President Hopfensperger called the meeting to a close.


Respectfully submitted,
Melissa Hilliard Potter, Secretary
College Art Association
March 6, 2019


Next Meeting 

Part One of the 108th Annual Business Meeting of the College Art Association in 2020 will take place in Chicago, Illinois – Part I during Convocation on Wednesday, February 12, 2020 at 6:00 p.m. and Part Two on Friday, February 14, 2020.  

Filed under: Board of Directors, Governance

News from the Art and Academic Worlds

posted by December 11, 2019

Credit: Torbakhopper/Wikimedia Commons, via Education Dive

At Women’s Colleges, Rules Vary Widely for Trans and Nonbinary Students

Admissions criteria can vary widely from institution to institution and is not always publicly posted, leaving students floundering for answers. (Education Dive)

How to Feel like You Have Enough: Overcoming a Scarcity Mindset 

“Time, money, status, security, respect. You name it, we’ve felt scarce around it. As artists, we are constantly having to advocate for our value—at work, in galleries, within academia, and in society at large.” (The Creative Independent)

Harvard’s Only Latina Professor on the Tenure Track Was Rejected & Students Are Protesting

Students held a sit-in to protest the tenure denial of professor Lorgia García Peña and called for the creation of an ethnic studies department. (Remezcla)

Black Scholars Are Not ‘Rare Creatures’

“When Purdue’s president said this, I had to respond because this myth is so pervasive.” (New York Times)

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Filed under: CAA News

Finalists for the 2020 Morey and Barr Awards

posted by December 09, 2019

CAA is pleased to announce the 2020 finalists for the Charles Rufus Morey Book Award and 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 2020 and presented during Convocation in conjunction with CAA’s 108th Annual Conference, taking place in Chicago, February 12-15, 2020.

The Charles Rufus Morey Book Award Shortlist 2020

Chanchal B. Dadlani, From Stone to Paper: Architecture as History in the Late Mughal Empire, Yale University Press, 2019

Barbara Furlotti, Antiquities in Motion: From Excavation Sites to Renaissance Collections, Getty Publications, 2019

Matthew Looper, The Beast Between:  Deer in Maya Art and Culture, University of Texas Press, 2019

Alfred H. Barr Jr. Award Shortlist 2020

Cathleen Chaffee, Introducing Tony Conrad: A Retrospective, Albright-Knox Art Gallery, Buffalo, NY, in association with Koenig Books, London, 2019

Karl Kusserow and Alan C. Braddock, Nature’s Nation: American Art and Environment, Princeton University Art Museum in association with Yale University Press, 2018

Esther Gabara, Pop América, 1965-1975, Duke University Press, 2018

Elizabeth Morrison, Book of Beasts: The Bestiary in the Medieval World, Getty Publications, 2019

Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions Shortlist 2020

Denise Murrell, Posing Modernity: The Black Model from Manet and Matisse to Today, Yale University Press in association with the Miriam and Ira D. Wallach Art Gallery, Columbia University in the City of New York, 2018

Phillip Earenfight, Shan Goshorn: Resisting the Mission, Trout Gallery, the Art Museum of Dickinson College, 2019

Tracy L. Adler, Jeffery Gibson: This is The Day, Prestel Publishing, 2018

Faith Brower, Heather Ahtone, and Seth Hopkins, Warhol and the West, University of California Press, 2019

The presentation of the 2020 Awards for Distinction will take place during CAA Convocation on Wednesday evening, February 12, 2020 from 6-7:30 p.m. in the Grand Ballroom at the Hilton Chicago. The event is free and open to the public. For more information about CAA’s Awards for Distinction, please contact

Filed under: Awards, Books

Kevin Tervala and Jennifer Kingsley

posted by December 09, 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.

On this week’s podcast, a medievalist stumbles into an Africanist and they decide to invite undergraduates to curate a feminist show.

Correction: Ashton Cooper’s article first appeared as part of a Barnard College exhibition, not Bryn Mawr. For more information: The Problem of the Overlooked Female Artist: An Argument for Enlivening a Stale Model of Discussion

Kevin Tervala is Associate Curator of African Art and Department Head for the Arts of Africa, the Americas, Asia, and the Pacific Islands at The Baltimore Museum of Art.

Jennifer Kingsley is the Director of the interdisciplinary undergraduate Programs in Museums and Society at the Johns Hopkins University.

Filed under: CAA Conversations, Podcast

New in

posted by December 06, 2019


Luke A. Fidler reviews the exhibition and catalog Jonathas de Andrade: One to One. Read the full review at

Ian Verstegen discusses Michael Baxandall, Vision and the Work of Words, edited by Peter Mack and Robert Williams. Read the full review at

Aaron Wile writes about Enchanted Islands: Picturing the Allure of Conquest in Eighteenth-Century France by Mary D. Sheriff. Read the full review at

Filed under:

Apply for a Childcare Grant for CAA 2020

posted by December 06, 2019

Attendees at 2018 Annual Conference in Los Angeles. Photo: Rafael Cardenas

Thanks for your interest! As of January 2, 2020, childcare grants are at capacity and the application portal is closed.

CAA recognizes the need among members for childcare support during the Annual Conference. In our effort to better meet these needs, CAA now offers grants of up to $250 per family.

Grants are available for CAA members who are registered for the conference and will bring their child to the conference, or who will incur extra care-giving expenses while away from their dependents.


Deadline to apply: January 5, 2020

Grant funding is limited and grants will be filled on a first-come, first-served basis. (If you signed up for the now-canceled onsite care with Kiddie Corp, you will be given priority.) The grants will be given as a reimbursement for expenses up to $250 upon submission of receipts or invoices.

Examples of allowable expenses

  • Childcare expenses incurred on-site at the conference.
  • Daycare above and beyond what is normally scheduled because member is attending the conference (for example, overtime at a daycare center, cost of a sitter, etc.)
  • Travel expenses incurred in bringing a caregiver/family member to supervise your child at the conference or at your home.
  • Travel expenses incurred in bringing a child to a caregiver/family member.

Note: Care must occur during the conference dates. Attendees are responsible for making their own arrangements. CAA does not sanction or recommend childcare providers and does not assume responsibility or liability for childcare services of any sort. It is the responsibility of the parent(s) to thoroughly investigate all childcare providers.

Expenses not eligible for reimbursement

  • Normally scheduled childcare expenses in your home city.
  • Toys, and tickets to museums, amusement parks, etc.
  • Travel or other expenses related to the attendee’s participation in the meeting, conference registration, meals, or other expenses the attendee would already be incurring by attending the meeting.

Reimbursement procedure

  • Reimbursement forms will be distributed to grantees upon notification, the completed PDF must accompany a scan of receipts.
  • Recipients of a grant must submit receipts for reimbursable expenses by email to Mira Friedlaender, with the subject line “Child Care Reimbursement”, by March 5, 2020
  • Reimbursements will be distributed within 3-4 weeks of CAA’s receipt of complete documentation.

Grants will be awarded on a rolling basis. The deadline to apply for the grant is January 5, 2020.


Questions about childcare grants for the Annual Conference? Email

The following Chicago-based childcare services are available for attendees seeking childcare during conference. CAA has no contract with these service providers, and this list should not be considered an endorsement of any companies listed.

American Childcare
207 East Ohio Street, 121, Chicago, IL 60611
Phone: 312-644-7300

College Sitters
1000 West Diversey Parkway, 234, Chicago, IL 60614
Phone: 773-697-9326

Sitters Studio
Phone: 312-890-8194

Filed under: Annual Conference

News from the Art and Academic Worlds

posted by December 04, 2019

Archives of American Art Publishes Finding Aid for Linda Nochlin Papers

The Smithsonian has just released an online finding aid for over 30 linear feet of the late art historian’s archival material. (Archives of American Art)

A Viral List of Hundreds of Opportunities for Artists, Compiled by One Person to Encourage Community

Everest Pipkin has made public their “Big Artist Opportunities List”—a collection of over 400 opportunities for artists across the globe. (Hyperallergic)

George Soros’s Foundation Is Launching a $15 Million Initiative to Repatriate Cultural Objects to African Nations

The Open Society’s initiative will support African lawyers, scholars, archivists, and grassroots organizations campaigning for the return of artifacts taken during the colonial era. (artnet News)

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Filed under: CAA News

CWA Picks for December 2019

posted by December 03, 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 December below.

…for Gloria Kisch

Gloria Kisch, …for Gloria, 2019, installation view. Courtesy: dieFirma, New York and Farzad Owrang

dieFirma, New York, New York
October 13, 2019 – January 5, 2020

The inaugural exhibition at dieFirma, a new gallery and arts space nestled in the bustling Bowery at 32A Cooper Square, New York, celebrates the life of multidisciplinary artist Gloria Kisch (1941-2014).  An impressive presentation reveals the range and significance of Kisch’s abstract sculptures and highlights her late series of metalwork constructions called Bells (2000-2003) and Flowers (2007-13); functional furniture and objects (benches and chairs); and early hard-edge paintings from the 1960s. Also displayed are ephemera from the artist’s extensive personal archive. A large body of drawings by British artist Jane Gifford accompanies the installation. Gifford turned to Kisch’s sculptures for inspiration and produced a collection of smaller watercolors that offer a fascinating interplay and homage; the gentle conversion of three-dimensional volumetric space through line and gesture encourages a subdued reciprocity between the two artists. Kisch’s metalwork equally invites multiple readings and comparisons to likeminded artists who crossed media and arbitrarily ignored traditional fine art, craft and design hierarchies. Utilizing hand-forged stainless steel, Kisch’s statuesque Bells take on a corporeal presence—linked geometric elements vertically hang, some extenuated and stretched, others widely berthed. But it is through their mythic presence that the viewer makes connections to sculptors who gloriously filled and emptied space, recalling the mobiles of Alexander Calder and totems of David Smith, the quasi-furniture of Isamu Noguchi, the calibrated wire constructions of Ruth Asawa or the scaled modular systems of Gego. Kisch’s series of wall-mounted Flowers bring a playful pop of color with their reflective metal petals and flexible use of materials. Kisch’s own history is equally as colorful.

For Neither Love Nor Money: Women’s Invisible Labor

San Marco Gallery in Archbishop Alemany Library, Dominican University, San Rafael, California
November 12, 2019 – January 17, 2020

Using real-life work data and personal narratives, artist Sawyer Rose highlights the pervasive inequalities working women face via visualization sculpture. Rose collects data herself from female-identifying workers from across the US, and translates it into large-scale installations that visualize the number of hours women log at paid and unpaid jobs, demonstrating the physical, emotional, and practical effects of disproportionate labor loads. With the installation, she photographs the women lifting and carrying her sculpture, visually bearing the real and physical burdens. Dawline, a teaching artist, teaches elementary school and balances multiple volunteer art tutoring positions. Rose’s installation for Dawline is dozens of gold and silver leafed objects hanging from the ceiling, made of linen, cotton, rope, gold and silver leaf, metal clasps and rings, wood, stones, acrylic, and enamel. Dawline is depicted in a photo next to the installation with the stones on her lap, representing the weight of both her paid and unpaid jobs. The accompanying text includes statistics around volunteerism, disproportionately falling on women. The multi-layered, educational, and visually driven exhibit, says the artist, “may not represent your life or your particular situation, but…definitely depicts the lives of many women you know and love, women who work with you or for you…The good news, though, is that everyone can reap the benefits of a gender-equitable workforce: increased Gross Domestic Product (GDP), more profitable businesses, and healthier, happier partners and children.”

Natalia LL: I Record Common Events

lokal_30, Warsaw, Poland
November 29, 2019 – January 24, 2020

The widely recognized 1969 essay by Carol Hanisch, an American feminist activist, entitled “The Personal Is Political,” was not known in communist Poland in 1970s. And yet, many women artists, including Natalia Lach-Lachowicz, known as Natalia LL, were using their bodies and most intimate surroundings to explore what it meant to be and become a woman. In her 1972 manifesto “Transformative Attitude,” Natalia LL wrote that “Art is in the process of becoming in every instant of reality,” and that she “records common events.” Since her studies at the Academy of Fine Arts in Wrocław, Poland, and in her artistic career spanning almost 50 years, Natalia LL has been using photography and film to investigate everyday bodily activities such as sleeping, eating, or speaking. Her works engage with issues concerning the rise of consumer culture and the fetishization of objects and bodies. She is known as a pioneer of feminist avant-garde in Poland and has become one of the first Polish women artists to be influential in the international feminist art movement of 1970s. The exhibition in lokal_30 features some of the key works of the artist alongside photographs which Natalia LL sent for an exhibition in Paramedia gallery in Berlin in 1974 and which have never been displayed in Poland.

16th International Triennial of Tapestry: Breaching Borders

Central Museum of Textiles, Łódź, Poland
October 5, 2019 – March 15, 2020

Łódź, a city in central Poland, has been cultivating its textile industry traditions since the 19th century. The International Trennial of Tapestry is the oldest and most important presentation of phenomena connected to the medium of textiles. For the first time in its history, the formula of the Triennial has been opened and artists themselves could apply to participate. It has also been enriched by the introduction of the role of the curator, Marta Kowalewska, and focus on an overarching key theme, which for the 16th edition is “Breaching Borders.” The understanding of borders is multi-layered. Artists from 21 countries in 55 selected works explore the threats and fears marking our contemporary condition, historical references, and personal stories that question the concept of borders as sources of conflict and trauma. The theme also references textiles and their place as one of liberated arts on one hand, and their structure enabling interlacing and layering of meanings and perspectives. The exhibition includes works of many significant women artists, such as Dorte Jensen, Ola Kozioł, Lucy Brown, Lisa Palm, Caroline Achaintre, Agata Borowa, Dobrosława Kowalewska, Anne Wilson or Joanna Malinowska, among others. It also features the unique work titled Your Things, a 20-meter fabric created in the Center for Foreigners in Łuków, Poland by Chechen refugees Zaira Avtaeva, Zalina Tavgereeva, Liana Borczaszvilli, Makka Visengereeva, Khava Bashanova, and Alina Malcagova, who await international protection. The work was created as part of a mini-grant of the Feminist Fund implemented in cooperation with the For the Earth Association according to a concept developed by Pamela Bożek.

Margaret Jacobs: Steel Medicine

Boise Art Museum, Idaho
June 8, 2019 – April 26, 2020

Artist Margaret Jacobs couples her steel sculptures celebrating Indigenous culture with early twentieth century ironworking tools, exploring the tension and harmony between forces of nature and humans. Jacobs’ sculptures, such as Steel Medicine, depict medicinal plants with a strong aesthetic via the dark color and heavy materiality of the metal, complemented by the softness of the sinewy shadows of the sculpture on the wall, emphasizing too the resilience and fragility of nature. Jacobs, a member of the St. Regis Mohawk Tribe, created two new series, Steel Medicine and Survival Medicine, on view, especially for this exhibit. “My culture inspires me to create pieces charged with power, strength, and beauty,” writes the artist in her statement, and in turn, “I believe my work celebrates indigenous culture with a bold, powerful aesthetic.”

Filed under: CWA Picks

Pete Schulte and Rubens Ghenov

posted by December 02, 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, Pete Schulte and Rubens Ghenov discuss the syncretism that exists between representation and non-objectivity in their current work, the fallacy of binary critiques of art in relation to form and content, as well as the manner in which these interests influence their approach to pedagogy.

Pete Schulte is an artist who lives and works in Birmingham, Alabama. He is Associate Professor of Art and chair of the drawing area at The University of Alabama in Tuscaloosa. Schulte is also co-founder, with artist Amy Pleasant, of The Fuel and Lumber Company curatorial initiative. He recently completed a summer long residency at The Chinati Foundation in Marfa, Texas and will present a solo exhibition of his work at McKenzie Fine Art in New York City later this fall.

Rubens Ghenov was born in São Paulo, Brazil and immigrated to the US in 1989. He lives and works in Knoxville, Tennessee where he is an Assistant Professor of Painting and Drawing at the University of Tennessee. He recently concluded an Affiliated Fellowship at the American Academy in Rome whose works will be in two upcoming group shows, Symbols and Archetypes at Vanderbilt Fine Arts Gallery in Nashville, Tennessee and a yet to be titled show at Mindy Solomon in Miami.

Filed under: CAA Conversations, Podcast