posted by CAA — December 03, 2018
Artist Joyce J. Scott leads as Keynote; Distinguished Scholar Elizabeth Hill Boone; Artist Interviews with Julie Mehretu and Julia Bryan-Wilson and Guadalupe Maravilla and Sheila Maldonado; Designer Stephen Burks, and Douglas Dreishpoon and Randy Kennedy with Mary Helimann, Bob Stewart, and John Giorno, among many other notable speakers and presenters
The Getty Foundation to receive the Outstanding Leadership in Philanthropy Award
We’re delighted to announce the following special guests will be presenting at the 107th CAA Annual Conference, taking place February 13-16, 2019, at the New York Hilton Midtown.
The Keynote Speaker for the 107th CAA Annual Conference will be Joyce J. Scott, sculptor and craftsperson and 2016 MacArthur Fellow. Scott is best known for her figurative sculpture and jewelry using free-form off-loom bead weaving techniques similar to a peyote stitch, as well as blown glass, and found objects. Over the past 50 years, Scott has established herself as an innovative fiber artist, print maker, installation, and performing artist. She explores challenging subjects, powerfully revealing the equality between materials and practices often associated with “craft” and “fine art.”
Scott is the recipient of myriad commissions, grants, awards, residencies, and prestigious honors from the National Endowment for the Arts, the Louis Comfort Tiffany Foundation, Anonymous Was a Woman, American Craft Council, National Living Treasure Award, and has received a Lifetime Achievement Award from the Women’s Caucus for the Arts, a Mary Sawyers Imboden Baker Award, among others.
CAA Convocation featuring Joyce J. Scott’s Keynote will take place Wednesday, February 13, 2019, from 6-7:30 PM. Free and open to the public.
The Distinguished Scholar for the 107th CAA Annual Conference will be Elizabeth Hill Boone, Professor of History of Art and Martha and Donald Robertson Chair in Latin American Art at Tulane University. An expert in the Pre-Columbian and early colonial art of Latin America with an emphasis on Mexico, Professor Boone is the former Director of Pre-Columbian Studies at Dumbarton Oaks and recipient of numerous honors and fellowships, including the Order of the Aztec Eagle, awarded by the Mexican government in 1990. Read our interview with Elizabeth Hill Boone.
The Distinguished Scholar Session will take place Thursday, February 14, 2019, from 4-5:30 PM.
Distinguished Artist Interviews
The Annual Artist Interviews will feature two artist interviews: Julie Mehretu interviewed by Julia Bryan-Wilson and Guadalupe Maravilla interviewed by Sheila Maldonado.
Julie Mehretu is a world-renowned painter, born in Addis Ababa, Ethiopia in 1970, who lives and works in New York City and Berlin. She received a Master’s of Fine Art with honors from The Rhode Island School of Design in 1997. Mehretu is a recipient of many awards, including the The MacArthur Fellowship (2005) and the US Department of State Medal of Arts Award (2015). She is best known for her large-scale paintings that take the abstract energy, topography, and sensibility of global urban landscapes and political unrest as a source of inspiration. She has shown her work extensively in international and national solo and group exhibitions and is represented in public and private collections around the world. Julia Bryan-Wilson is Doris and Clarence Malo Chair and Professor of Modern and Contemporary Art at University of California, Berkeley.
Guadalupe Maravilla (formally Irvin Morazan) was part of the first wave of undocumented children to arrive at the United States border in the 1980s from Central America. In 2016, as a gesture of solidarity with his undocumented father (who uses Maravilla as his last name in his fake identity) Irvin Morazan changed his name to Guadalupe Maravilla. Maravilla has performed and presented his work extensively in venues such as the Whitney Museum of American Art, New Museum, The Metropolitan Museum of Art, The Bronx Museum, El Museo Del Barrio, Jersey City Museum, Caribbean Museum (Colombia), and MARTE Museum (El Salvador). His work has been recognized by numerous awards and fellowships including, Franklin Furnace, Creative Capital Grant, Joan Mitchell Emerging Artist Grant, Art Matters Grant & Fellowship, Virginia Museum of Fine Arts Fellowship, Dedalus Foundation Fellowship and the Robert Mapplethorpe Foundation. Sheila Maldonado is a New York-based writer and poet, whose family hails from Honduras.
The Distinguished Artist Interviews will take place Friday, February 15, 2019, 3:30-5:30 PM. Free and open to the public.
CAA Committee on Design Featured Speaker
CAA is also pleased to announce that designer Stephen Burks will speak at the Annual Conference in a special event of the CAA Committee on Design. Burks will lead a talk titled, “Objects of African Descent: Tracing the lineage and influence of everyday African objects and culture throughout the diaspora and beyond.” Burks believes in a pluralistic vision of design inclusive of all cultural perspectives. For his efforts with artisan groups around the world, he has been called a design activist. His ongoing Man Made project bridges the gap between authentic developing world production, industrial manufacturing, and contemporary design. Independently and through association with the nonprofits Aid To Artisans, Artesanias de Colombia, the Clinton Global Initiative, Design Network Africa, and the Nature Conservancy, Burks has consulted on product development with artisan communities throughout the world. In addition, leading, manufacturers have commissioned his studio, Stephen Burks Man Made, to develop lifestyle collections that engage hand production as a strategy for innovation. In 2015, Burks was awarded the National Design Award in product design and in 2018, the Harvard Loeb Fellowship.
This event will take place Friday, February 15, 2019, 12:30-1:30 PM. Click here for more details.
Outstanding Leadership in Philanthropy Award
For the second year, CAA will present the Outstanding Leadership in Philanthropy Award to a foundation or philanthropic organization that has established a record of exceptional generosity and civic and charitable responsibility. This year’s award will be given to the Getty Foundation.
In 1971, CAA first began the discussion to offer childcare at the Annual Conference. In 1976, after five years of discussion, CAA decided the risks of offering child care were too high and did not move forward. Over 40 years later, CAA will provide childcare at the Annual Conference for the first time. For the 107th CAA Annual Conference, CAA partnered with Kiddie Corp to offer onsite childcare for ages 6 months to 12 years of age at a price of $12 an hour. Kiddie Corp programs feature arts and crafts, group games, music and movement, board games, story time, dramatic play, and many more engaging activities. Kiddie Corp is in its 33rd year of providing childcare services at conferences and trade shows and has a longstanding partnership with the American Academy of Pediatrics.
The deadline to sign up is January 14, 2019.
CAA offers Annual Conference Travel Grants to graduate students in art history and studio art and to international artists and scholars. Meet this year’s recipients below.
CAA TRAVEL GRANT IN MEMORY OF ARCHIBALD CASON EDWARDS, SENIOR, AND SARAH STANLEY GORDON EDWARDS
Established by Mary D. Edwards with the help of others, the CAA Travel Grant in Memory of Archibald Cason Edwards, Senior, and Sarah Stanley Gordon Edwards supports women who are emerging scholars at either an advanced stage of pursuing a doctoral degree or who have received their PhD within the two years prior to the submission of the application.
Hollyamber Kennedy, Columbia University
Session: Migration and Colonial Modernities
Paper: Infrastructures of “Legitimate Violence”: Notes on The Prussian Settlement Commission’s Border Villages
Kaja Tally-Schumacher, Cornell University
Paper: A Spectrum of Life: Exploring Blurred Boundaries in Human and Plant Bodies in Roman Gardens
CAA GRADUATE STUDENT CONFERENCE TRAVEL GRANTS
CAA awards Graduate Student Conference Travel Grants to advanced PhD and MFA graduate students as partial reimbursement of travel expenses to the Annual Conference.
Florida State University
Illinois State University
University of Texas at Austin
Queer Art Network
Anna Van Voorhis
University of Minnesota-Twin Cities
CAA INTERNATIONAL MEMBER CONFERENCE TRAVEL GRANTS
CAA awards the International Member Conference Travel Grant to artists and scholars from outside the United States as partial reimbursement of travel expenses to the Annual Conference.
Universidad Nacional Autónoma de México, Mexico
Federal University of Rio De Janeiro, Brazil
Independent Artist, United Kingdom
SAMUEL H. KRESS FOUNDATION CAA CONFERENCE TRAVEL FELLOWSHIP FOR INTERNATIONAL SCHOLARS
Recognizing the value of first-hand exchanges of ideas and experience among art historians, the Kress Foundation is offering support for international scholars participating as speakers at the 2018 CAA Annual Conference. The scholarly focus of the papers must be European art before 1830. Kress recipients will be announced in January 2019.
CAA-GETTY INTERNATIONAL PROGRAM
Every year since 2012, the CAA-Getty International Program has brought between fifteen and twenty art historians, museum curators, and artists who teach art history to attend CAA’s Annual Conference. This program is funded on an annual basis by the Getty Foundation. Click here to meet the CAA-Getty International Program participants.
posted by CAA — November 20, 2018
We are pleased to welcome Elizabeth Hill Boone, Professor of History of Art and Martha and Donald Robertson Chair in Latin American Art at Tulane University, as the 2019 CAA Distinguished Scholar.
An expert in the Precolumbian and early colonial art of Latin America with an emphasis on Mexico, Professor Boone is the former Director of Pre-Columbian Studies at Dumbarton Oaks and recipient of numerous honors and fellowships, including the Order of the Aztec Eagle, awarded by the Mexican government in 1990.
CAA media and content manager Joelle Te Paske corresponded with her recently to learn her thoughts on art history, scholarship, and challenges in the field. Read their interview below.
Joelle Te Paske: Thanks for taking the time to speak with CAA. So, where are you from originally?
Elizabeth Hill Boone: Coming from a military family rooted in Virginia, I moved from coast to coast often as a child and then attended the College of William and Mary in Virginia for my BA.
JTP: What pathways led you to the work you do now?
EHB: It was at William and Mary, where I was a Fine Arts major. The sculpture professor Carl Roseberg offered a course, Ancient Art, that included a three-week section on the Pre-Columbian Americas. He showed us and presented the then-canonical explanation of the monumental “Coatlicue” sculpture from Aztec Mexico, and I was immensely intrigued. I wondered what kind of mind would conceptualize and carve a work like that as its creator or mother goddess. That question led me into Aztec studies, which took me to the University of Texas at Austin for my PhD, and to Aztec painted books, where similar images were to be found. I became a manuscript specialist because I needed to understand what the manuscript paintings meant, how they related to the Coatlicue, why they came to fill those particular pages. Since the field of Mexican manuscript painting was in its infancy, I left the Coatlicue behind to focus on the other manuscript genres and Mexican pictography as a system. My study of Mexican pictography naturally led me to the issue of how the concept of Writing should be broadened.
JTP: What are you working on currently?
EHB: I am now finishing up a book analyzing the corpus of pictorial manuscripts created in the early colonial period to document the ideologies and practices of Aztec culture. United by their decendency from Mexican pictography, these painted reflections of the Aztec past were re-purposed to inform Europeans principally about Aztec religion, as weapons of conversion and aids for colonial administrators.
JTP: What is your favorite part of the work you do?
EHB: I think most art historians love solving mysteries: discovering connections and uncovering histories and contexts. I want to understand what an object meant to its different audiences at the time of its creation, and also what it can tell us now about our own perspectives. Depending on the object, it can also be rewarding and telling to track its reception and reconceptualization through time.
JTP: If you could boil your teaching philosophy down to a central idea, what would it be?
EHB: My goal is to excite students about the potentials of visual expression. This means giving them knowledge of the material such that they can understand its cultural context and power, but also showing the students how the objects speak today as works of art.
JTP: What’s exciting to you right now in the field?
EHB: Globalism. The discipline has broken the confines that once centered it in Western Europe and is now focusing on connections between peoples. Centers of discourse are now shifting toward the larger Atlantic world, the Pacific world, the Silk Road, and the trans-Mediterranean/African network, to name just a few. It is opening up new ways of understanding the meaning and agency of art.
JTP: What do you see as the greatest challenges in the field right now?
EHB: I see two challenges. The first and most important is relevance. Art history must articulate why it matters in these times. As graphic communication (communication that is not oral or gestural) becomes even more the principal form of communication between people, the discipline needs to assert its place as a source of theoretical knowledge and of models for investigative practice.
The second challenge is linked to the increasing study of trans-cultural connections. Scholars who seek to follow the movement of objects and ideas across spaces and between cultures need to develop strong local knowledge of all participants, so that these global connections are grounded in area expertise. In order to avoid facile comparisons and connections, researchers now have to master multiple areas.
JTP: Have you attended CAA conferences? Do you have a favorite memory?
EHB: I have attended many. Perhaps my favorite memories are of cross-cultural sessions that focus on issues relevant to many cultures, for example, civic identity, and in which the presenters push their material to address the large question in a serious way.
JTP: Thank you, Professor Boone. We’re looking forward to seeing you at the 2019 conference.
Elizabeth Hill Boone is Professor of History of Art and Martha and Donald Robertson Chair in Latin American Art at Tulane University. An expert in the Precolumbian and early colonial art of Latin America with an emphasis on Mexico, she is the former Director of Pre-Columbian Studies at Dumbarton Oaks. Professor Boone has earned numerous honors and fellowships, including the Order of the Aztec Eagle, awarded by the Mexican government in 1990. She is a Fellow of the American Academy of Arts and Sciences and a Corresponding Member of the Academia Mexicana de la Historia. Her research interests range from the history of collecting to systems of writing and notation, and are grounded geographically in Aztec Mexico, but extend temporally for at least a century after the Spanish invasion. She is the author of Cycles of Time and Meaning in the Mexican Books of Fate (Texas, 2007) and Stories in Red and Black: Pictorial Histories of the Aztecs and Mixtecs (Texas, 2000), which was awarded the Arvey Prize by the Association for Latin American Art.
As we near the 107th Annual Conference, we want to remind all of our attendees about their rights at the conference. Please review the Community Guidelines on the conference website before attending.
Plagiarism at the CAA Annual Conference is prohibited. As a scholarly organization devoted to the pursuit of independent scholarship, CAA does not condone theft or plagiarism of anyone’s scholarship, whether presented orally or in writing. Participants at the conference are not allowed to make audio or video recordings of any session at the Annual Conference, without the expressed permission of all presenters.
If you believe your work has been stolen or plagiarized by some other person, we encourage you to contact us so that an investigation might be conducted, and, if appropriate, we may contact the involved parties and publishers involved.
We want to remind everyone that CAA DOES NOT sell its lists of members, conference attendees or participants in our Book and Trade Fair. If you see someone offering those items for sale or rent, they are trying to scam you. This time of year, we see more of these scams and want you to know to stay away from them.
If you receive a solicitation, please forward it to us at NYOFFICE@collegeart.org and we will get in touch with the scofflaws.
posted by CAA — November 02, 2018
CAA is pleased to announce this year’s participants in the CAA-Getty International Program. Now in its eighth year, this international program supported by the Getty Foundation will bring fifteen new participants and five alumni to the 2019 Annual Conference in New York City. The participants—professors of art history, curators, and artists who teach art history—hail from countries throughout the world, expanding CAA’s growing international membership and contributing to an increasingly diverse community of scholars and ideas. Selected by a jury of CAA members from a highly competitive group of applicants, participants will receive funding for travel expenses, hotel accommodations, conference registration, CAA membership, and per diems for out-of-pocket expenditures.
At a one-day preconference colloquium, to be held this year at Parsons School of Design, the fifteen new participants will discuss key issues in the international study of art history together with five CAA-Getty alumni and several CAA members from the United States, who also will serve as hosts throughout the conference. The preconference program will delve deeper into subjects discussed during last year’s program, including such topics as postcolonial and Eurocentric legacies, interdisciplinary and transnational methodologies, and the intersection of politics and art history.
This is the second year that the program includes five alumni, who provide an intellectual link between previous convenings of the international program and this year’s events. They also serve as liaisons between CAA and the growing community of CAA-Getty alumni. In addition to serving as moderators for the preconference colloquium, the five alumni will present a new Global Conversation during the 2019 conference titled Creative Pedagogy: Mapping In-between Spaces Across Cultures.
The goal of the CAA-Getty International Program is to increase international participation in the organization’s activities, thereby expanding international networks and the exchange of ideas both during and after the conference. CAA currently includes members from over 50 countries around the world. We look forward to welcoming the following participants at the next Annual Conference in New York City.
2019 PARTICIPANTS IN THE CAA-GETTY INTERNATIONAL PROGRAM
Richard Bullen is associate professor of art history at the University of Canterbury, New Zealand. He graduated with a PhD from the University of Otago in 2003. Bullen’s principal areas of research are Japanese aesthetics and East Asian art collections in New Zealand. During his years living in Japan, he studied tea ceremony and calligraphy and has since published on aspects of tea ceremony aesthetics. With James Beattie he recently completed a major publicly-funded project to document New Zealand’s largest collection of Chinese art, the Rewi Alley Collection at Canterbury Museum. Their website catalogues all 1400 objects in the collection: http://www.rewialleyart.nz. Together, they also have produced a number of publications, including New China Eyewitness: Roger Duff, Rewi Alley and the Art of Museum Diplomacy (2017) and co-curated three exhibitions. Bullen is currently working on art made in World War II by Japanese POWs held in Australasia.
Pedith Chan is an assistant professor of Cultural Management in the Faculty of Arts at the Chinese University of Hong Kong. She received her PhD in Art and Archaeology from SOAS, University of London. Before joining the Chinese University of Hong Kong Chan was an assistant curator at the Hong Kong Museum of Art, and an assistant professor at the City University of Hong Kong. Her research interests focus on the production and consumption of art and cultural heritage in modern and contemporary China. Recent publications include The Making of a Modern Art World: Institutionalization and Legitimization of Guohua in Republican Shanghai (Leiden: Brill, 2017), “Representation of Chinese Civilization: Exhibiting Chinese Art in Republican China,” in The Future of Museum and Gallery Design (London: Routledge, 2018), and “In Search of the Southeast: Tourism, Nationalism, Scenic Landscape in Republican China,” (Twentieth-Century China, 2018). She is currently researching the making of scenic sites in modern China.
Swati Chemburkar is an architectural historian who lectures and directs a diploma course on Southeast Asian Art and Architecture at Jnanapravaha, a center for the arts in Mumbai, India. In addition, she is a visiting lecturer at the School of Oriental and African Studies (SOAS), London, and SOAS’s summer schools in Southeast Asian countries. Chemburkar’s work focuses on eighth- through twelfth-century Southeast Asia, particularly the relationship between texts, rituals, art, architecture, and cross-cultural exchanges in maritime Asia. Her ongoing research explores the spread of the ancient Śaiva sect of Pāśupatas in this region. She has edited Art of Cambodia: Interactions with India (Marg Magazine, Volume 67 Number 2, December 2015-March 2016) and contributed papers to several journals and publications, including the recent “Visualising the Buddhist Mandala: Kesariya, Borobudur and Tabo” in India and Southeast Asia: Cultural Discourse (K. R. Cama Oriental Institute, Mumbai, 2017) and “Pāśupata Sect in Ancient Cambodia and Champa” (co-authored with Shivani Kapoor) in Vibrancy in Stone: Masterpieces of the Đà Nẵng Museum of Cham Sculpture (River Books, 2017).
Stephen Fọlárànmí is a senior lecturer in the Department of Fine & Applied Arts, Ọbáfémi Awólọ́wọ̀ University, Ilé-Ifè, Nigeria. His research focuses on Yoruba art and African mural art and architecture. In particular, Fọlárànmí’s extensive research on the art and architecture of the Òyó and Iléṣà palaces has been published in journals, conference proceedings, and as book chapters. A recent example, “Palace Courtyards in Iléṣà: A Melting Point ofTraditional Yorùbá Architecture,” co-authored with Adémúlẹ̀yá, B.A., was published in Yoruba Studies Review 2, no. 2 (Spring 2018): 51-76. Fọlárànmí was a recipient of the first Höffmann-Dozentur für Interkulturelle Kompetenz at University of Vechta, Germany (2008-09). As an artist Fọlárànmí has exhibited his work in Nigeria, London, Germany, and the United States. He was the chair of the Department of Fine and Applied Arts, Obafemi Awólọ́wọ̀ University, Ile-Ife, between August 2016 and January 2018. Currently, he is a research fellow in the Fine Arts Department, Rhodes University, Grahamstown, South Africa.
Negar Habibi is a Persian art historian and lecturer in Islamic art history at the University of Geneva, Switzerland, where she teaches history of Persian painting from early Islamic times until the modern era. She completed a PhD in 2014 in art history at the Aix-Marseille University in France with a dissertation titled “The Farangi sāzi and Paintings of Ali Qoli Jebādār: an Artistic Syncretism under Shah Soleymān (1666-1694).” Habibi conducts research on paintings from early modern Iran. Adopting a multidisciplinary approach, her work focuses on the career and life of the artist, especially issues of signature authenticity, gender, and artistic patronage in early modern Iranian society. She has published several articles on the art and artists of late-seventeenth-century Iran, and her book titled Ali Qoli Jebādār et l’occidentalisme safavide: une étude sur les peintures dites farangi sāzi, leurs milieux et commanditaires sous Shah Soleimān (1666-94) was published in January 2018 by Brill.
Iro Katsaridou has been the curator of modern and contemporary art at the Museum of Byzantine Culture in Thessaloniki, Greece since 2005. She studied art history at the Aristotle University of Thessaloniki and the Université Paris I-Sorbonne, and also pursued museum studies at the City University of New York. Her doctoral dissertation (Aristotle University, 2010) focused on contemporary Greek photography from 1970-2000. For the past five years Katsaridou has been researching historical photography in Greece, seeking to unravel the role of politics in the formation of photographic representations. In this particular field she also has curated exhibitions of photography and art in wartime (World War I and II) and edited related catalogues. She has co-edited a book about photography during the Nazi Occupation of Greece (1941-1944) and written articles and book chapters on photography (both historical and contemporary), exhibition display policies, as well as the relationship between contemporary Greek art and politics.
Halyna Kohut is an associate professor in the Faculty of Culture and Arts at the Ivan Franko National University of Lviv, Ukraine, where she teaches history of art, contemporary art, and history of theatrical costume. Originally educated as a textile artist, she received a PhD from the Lviv National Academy of Arts with a dissertation on seventeenth- and eighteenth-century Ukrainian kilims. She is the recipient of scholarships and grants from the Austrian Agency for International Mobility and Cooperation in Education, Science and Research, the Canadian Institute of Ukrainian Studies at the University of Alberta, and the Queen Jadwiga Foundation at the Jagiellonian University in Cracow. Kohut studies Ukrainian kilims as an intermediate zone between Oriental and Western design traditions formed on the so-called Great cultural frontier between the Christian West and Islamic East. She is especially interested in the migration of ornamental patterns as well as the articulation of textile’s social and political meanings in the historical context.
Zamansele Nsele is an art historian and a lecturer in design studies in the Faculty of Art, Design and Architecture at the University of Johannesburg, South Africa. She recently submitted her doctoral thesis in Art History & Visual Culture, titled Post-Apartheid Nostalgia and the Future of the Black Visual Archive. In 2018, Nsele was included in the Mail & Guardian’s prestigious list of Top 200 Young South Africans. She has presented her PhD research at Vanderbilt University and Rutgers University (USA), the University of East Anglia (UK), the University of Ghana in Accra (Ghana), and Rhodes University and the University of Cape Town (South Africa). In July 2018, she was a guest speaker at the Museum Conversations Conference hosted by the University of Namibia and the Goethe-Institut Namibia. Her research interests include post-Apartheid nostalgias, contemporary African art, blackface minstrelsy in South African visual culture and Africana studies.
Chukwuemeka Nwigwe is a Nigerian artist and art historian who teaches fashion/textile design and art history at the University of Nigeria Nsukka. He holds a PhD in art history, MFA in textile design, and BA in fine and applied arts from the same university. Nwigwe’s current research is on identity, exemplified in two recent publications: “Fashioning Terror: The Boko Haram Dress Code and the Politics of Identity” (Journal of Fashion Theory, January 2018) and “Breaking the Code: Interrogating Female Cross Dressing in Southeastern Nigeria” (posted online as part of a 2018 ACLS African Humanities Program Postdoctoral Fellowship). Nwigwe also practices as a studio artist. His recent studio experiments with waste plastic, synthetic bags, and foil wrappers, usually woven arbitrarily, have been influenced largely by his research on bird nests begun during his MFA studies.
Oana Maria Nicuță Nae is an assistant professor in the Department of Art History and Theory, Faculty of Visual Arts and Design, George Enescu National University of Arts, Iasi, Romania. She received a PhD in art history from the same university, where she currently teaches courses on the history of modern European art, the history of design, and art and society in modern Europe. Most recently she published “The Materialization of Light in the Art of the (Neo-) Avant-Gardes,” in Objects and Their Traces: Historical Gazes, Anthropological Narratives, Cristina Bogdan, Silvia Marin Barutcieff (coord.), Bucharest University Press (Bucharest, 2018). Nicuță Nae’s current research focuses on the representation of women in Romanian modern art. She also studies multiple modernities, taking into account the particular position of Romanian art narratives in regional and global attempts to construct encompassing ones. Recently she has started parallel research on the notion of influence in nineteenth-century Romanian and European art.
Tamara Quírico is an associate professor in the Art Institute of the Universidade do Estado do Rio de Janeiro (State University of Rio de Janeiro, UERJ, Brazil), where she teaches courses to undergraduate students majoring in art history and visual arts and art history courses to graduate students pursuing MA and PhD degrees. She earned her PhD in social history from the Universidade Federal do Rio de Janeiro, in a joint supervision program with the Università di Pisa (Italy), in which she studied changes in the iconography of the Last Judgment in fourteenth-century Tuscan painting. Her dissertation, “Inferno and Paradiso: Representations of the Last Judgment in Fourteenth-Century Tuscan Painting,” was published in Portuguese in 2014. Quírico studies Italian paintings from the thirteenth and fifteenth centuries, focusing in particular on the uses and functions of Christian images, as well as devotional practices and exchanges between Christian images from Europe and Spanish America.
Juliana Ribeiro da Silva Bevilacqua is a specialist in African and Afro-Brazilian art. She studied at the University of São Paulo, where her PhD dissertation was on the Museu do Dundo in Angola (1936–61). From 2004–14 she worked as a researcher at the Museu Afro Brasil in São Paulo. She collaborates with different museums in Brazil researching African art and Afro-Brazilian art collections, including the Museu de Arte de São Paulo and the Museu de Arqueologia e Etnologia at the University of São Paulo. In 2015 she was a guest editor of Critical Interventions: Journal of African Art History and Visual Culture in an issue dedicated to Afro-Brazilian Art. Since 2017 she has been a professor collaborating with the graduate program in Art History at the University of Campinas (Unicamp). Recently she was a visiting professor at the Universidad de Los Andes, Bogota, Colombia, in the Connecting Art Histories program sponsored by the Getty Foundation.
Marko Stamenkovic, born in the former Yugoslavia, is an associate curator of ZETA Contemporary Art Center in Tirana, Albania. He is an art historian and transcultural theorist with a strong interest in the decolonial politics of race, ethnicity, and sexuality. Over the past decade, he has been working primarily in the field of contemporary visual arts as a freelance curator, critic, and writer focused on the intersection of visual thinking and social theories, political philosophies, and cultural practices of the marginalized and the oppressed. He holds a PhD in philosophy from Ghent University (Belgium) where he worked on questions of sacrifice, self-sacrifice in protest, and suicide to explore the relationship between human mortality and politico-economic powers on the darker side of democracy, from a perspective of the global South. He is a member of AICA (International Association of Art Critics) and IKT (International Association of Curators of Contemporary Art).
Viviana Usubiaga holds a PhD in art history from the Universidad de Buenos Aires (UBA) in Argentina. She is an associate professor of contemporary art at the Universidad Nacional de San Martín and an assistant professor of modern and contemporary art history at UBA. Usubiaga is also an adjunct researcher of the Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET) and a board member of the Centro Argentino de Investigadores de Arte (CAIA). Her fields of interest include visual arts, literature, and museum studies, focusing on the political impact of transnational circulation of artistic images and texts during socially traumatic periods, including dictatorships and post-dictatorships in South America. Being a specialist in resistance art practices and institutional cultural politics, Usubiaga is the author of Imágenes inestables. Artes visuales, dictadura y democracia en Buenos Aires (2012). She also organizes independent curatorial projects in which she experiments with using scholarly methodologies in non-academic or non-specialist settings.
Jian Zhang was born in Hangzhou, China, and earned his PhD in art theory and history from the China Academy of Art, Hangzhou. He is a professor of art history at the School of Art and Humanities as well as the chief librarian of the Academy Library at the same university. His present research focuses on expressionism (formalism) in modern art historiography as well as the problem of its modernity. He is the author of Life of the Visual Form of Art, The History of the Western Modern Art, and An Alternative Story: Expressionism in the Western Modern Art Historiography, and also the translator of the Chinese edition of Wilhelm Worringer’s Form in Gothic, Heinrich Wolfflin’s The Sense of Form in Art: A Comparative Psychological Study (Italien und das deutsche Formgefühl) and Conrad Fiedler’s On Judging Works of Visual Art.
Sarena Abdullah is a senior lecturer in the School of the Arts at the Universiti Sains Malaysia in Penang, where she teaches art history to undergraduate and graduate students. She received an MA in art history from the University at Buffalo, State University of New York, and a PhD in art history from the University of Sydney in Australia. Specializing in contemporary Malaysian art with a broader interest in Southeast Asian art, Abdullah was the inaugural recipient of the London, Asia Research award given by Paul Mellon Center (London) and Asia Art Archive (Hong Kong). Her book Malaysian Art since the 1990s: Postmodern Situation was published in 2018, as was Ambitious Alignments: New Histories of Southeast Asian Art, for which she was a co-editor, published by the Power Institute and National Gallery Singapore. She first participated in the CAA-Getty International Program in 2016 and presented a paper as part of the program’s reunion during the 2017 conference.
Katarzyna Cytlak is a Polish art historian based in Buenos Aires, Argentina, whose research focuses on Central European and Latin American artistic creations in the second half of the twentieth century. She studies conceptual art, radical and utopian architecture, socially engaged art, and art theory in relation to post-socialist countries from a transmodern and transnational perspective. In 2012, she received a PhD from the University Paris 1 Panthéon-Sorbonne, France. Cytlak was a postdoctoral fellow at the CONICET – National Scientific and Technical Research Council, Argentina (2015-2017). She is currently working as a researcher and professor at the Center for Slavic and Chinese Studies, University of San Martín, Argentina. Selected publications include articles in Umění/Art, Eadem Utraque Europa, Third Text, and the RIHA Journal. Cytlak is a grantee of the University Paris 4 Sorbonne (Paris), the Terra Foundation for American Art (Chicago, Paris) and the Institut National d’Histoire de l’Art (INHA, Paris). In 2018, she participated in the CAA-Getty International Program.
Nadhra Khan is a specialist in the history of art and architecture of the Punjab from the sixteenth to the early twentieth century. She received a PhD from the University College of Art & Design, University of the Punjab, Lahore, and teaches art history at Lahore University of Management Sciences, Lahore, Pakistan. Khan’s research focuses on the visual and material culture of the Punjab region during the Mughal, Sikh, and colonial periods. Her publications address several misconceptions and misrepresentations of Mughal and Sikh art and architecture as well as the state of art and craft in the Punjab under the British Raj and reflect the wide range of her interests and expertise.
Nazar Kozak is a senior research scholar in the Department of Art Studies in the Ethnology Institute at the National Academy of Sciences of Ukraine. Previously he also taught the history of art at the Ivan Franko National University of Lviv. Kozak has received scholarships and grants from the Fulbright Scholar Program, State Scholarships Foundation of Greece, the American Council of Learned Societies, the Austrian Agency for International Mobility, and the Shevchenko Scientific Society in the United States. Kozak’s primary research is on Byzantine and post-Byzantine art in Eastern Europe. He is the author of Obraz i vlada: Kniazhi portrety u mystetstvi Kyïvskoï Rusi XI stolittia (Image and authority: Royal portraits in the art of Kyivan Rus’ of the eleventh century, Lviv, 2007). More recently, he has begun to work on contemporary activist art. His article on the art interventions during the Ukrainian Maidan revolution was published in the Spring 2017 issue of the Art Journal; it received an honorable mention as a finalist for that year’s Art Journal Award. Kozak participated in the CAA-Getty International Program in 2015 and presented a paper as part of the program’s reunion during the 2017 conference.
Chen Liu teaches art history and architecture at Tsinghua University in Beijing, China, where she received a bachelor’s degree in architecture with honors. After receiving a master’s in architecture and urban planning from the University of Maryland in 2000, she practiced as an architect in Washington DC until 2005. In 2011, she received a PhD in art history from Princeton University, specializing in Renaissance and Baroque art and architecture. In 2012, funded by an Andrew W. Mellow Fellowship, she helped create and direct the first Villa I Tatti summer research seminar designed specifically for Chinese scholars. “The Unity of the Arts in Renaissance Italy” provided participants with the opportunity to study firsthand the art and architecture of Renaissance Italy. Liu also teaches courses on the visual arts at Beijing Film Academy and Tongji University (Shanghai). She publishes widely on early modern art and architecture, as well as on the response of Chinese scholars to the Italian Renaissance. For the academic year 2018-2019 Liu is a Harvard-Yenching Institute Visiting Scholar at Harvard University.
posted by CAA — October 23, 2018
Charlene Villaseñor Black is Professor of Art History and Chicana/o Studies at UCLA and chair of the Annual Conference Committee for the 2019 Annual Conference in New York, February 13-16, 2019.
As a crucial player in the conference process, we asked Charlene to share her thoughts on the field, being a part of CAA, and what goes into making the conference a reality every year. Listen in or read her thoughts below.
So, chairing the Conference Committee is a huge job. We had a record number of submissions—there was a lot of reading—but it was also very exciting to see where our members are, and what kinds of things people are doing in terms of their artistic practice, what things art historians are thinking of. It was actually very exhilarating to read these submissions.
When I came on, agreed to do this, I had a couple of goals in mind, and the first one for me was diversifying CAA. Really broadening out what kinds of topics we were looking at. I was also interested in pulling in more people who are working on historic time periods. I’m someone who works on colonial, on early modern but I also work in contemporary Chicanx art. So I’m very much interested in seeing how differing fields can speak to each other, and I was also very much interested in studio art, and a little nervous about that because I actually think that dialogue with artists is extremely important for those of us who are historians.
The submissions that we read were very exciting. There are many different themes, a very diverse representation of subject areas. What was interesting to me was that several themes that transcend chronology or geography came out to me. There were a lot of panels on the politics of artistic production. There were a lot of panels looking at migration, immigration, globalism. There were a lot of panels looking at the environment, artistic practice in the environment. Materiality was another very important topic that I saw that’s still very popular.
So I was very attentive to the representation of historical panels for the annual conference. This is actually very important to me, and there were a lot of early modern panels. As someone who works on early modern colonial and contemporary, I really think about why history matters. And in this current political moment, I think we understand why history matters, and why facts matter. And thinking about the current migration crises in the world right now, the roots of those crises are really in the early modern period, during this period of European imperialism. So I actually think this is a moment when we can really speak to each other across time periods, across fields. It’s a really important moment for us to do that.
I hope that the biggest surprise about the conference is its incredible breadth, and the incredible range of interests that our members have, and people are working on in their studio practices, in their scholarship.
My very first CAA was in 1992. I was a graduate student. It was in Chicago, and I very clearly remember going to that first conference. I felt intimidated. I also remember very well, I think it was 1995, San Antonio. I was on the job market, but what I remember is that there were two Latin American panels. There were two colonial panels. They were scheduled at the same time unfortunately, but I remember presenting at that conference.
CAA is the major professional organization that I belong to. I’m also active in Latinx studies, but CAA for me feels like home. I was very fortunate to win one of the CAA Millard Meiss subventions early on for my first book. CAA to me is just fundamental in terms of you go to the conference, you see what everyone’s working on, what does the field look like at this moment? You see lots of old friends. You hopefully meet some new people.
The job market is a challenge right now for young scholars who are just finishing. Because of the fields I work in, I am very fortunate that my students have done really well. They tend to have multiple job offers. I had two people on the market this year, so I’m very grateful for that. I think it’s actually really important to broaden what it is we can teach and what we can talk about. Not just be highly specialized in twenty years of the 16th century, for example. It’s extremely important to have range, to be able to even move out of art history. A number of my students are also working in ethnic studies right now, and they’ve all done beautifully on the job market.
I think it’s also up to us to argue for the importance of what we do. Visual literacy could not be more important than it is at this particular moment. This is the most visual world that has ever existed, so that visual literacy argument is important for us to make, I feel.
So we had a record number of submissions this year, and I read a lot of them. I read hundreds of the submissions, and really allotted a lot of time to doing it, because you want to make sure you give every submission a fair read and a good read. You don’t want to be grouchy or tired when you’re reading someone’s submission. It’s their work. It’s very important. So I read I’m guessing 400 or 500 of the submissions. Yeah. I really wanted to get a sense of where everybody was.
The final decisions are made by a committee, by the Annual Conference Committee, and there were so many submissions this year that we pulled in extra readers. You want to have a very diverse group of readers because our knowledge tends to be very particular. For example, you want to make sure you have people who are in studio art reading studio art proposals. Somebody who understands maybe contemporary may not understand ancient pre-Columbian. So you want to have readers who are literate in a variety of areas able to read and fairly assess the submissions.
I think it’s really important, and I’m speaking as an advisor, as a mentor, as someone who’s also an editor, that I like it when we put our main idea out first or upfront. When we’re talking in a proposal submission, I think it’s important to not kind of unroll your way to the main point. So I think being direct can really help clarify what you’re talking about.
I think to be successful presenting, it is really important that you’re not just reading, looking down, reading your script. That even if you have to rehearse moments of engagement with the audience, that will really enliven the presentation. Take time to look at the images you’re talking about, to point out things in the images. Take time to engage directly with your audience, make eye contact with them. I know when I’m working with students, it’s very important to tell people that you need to do those things, and to rehearse the paper so that you’re not stumbling—you know what you’re going to say before you say it.
I love the opportunity to connect with people that I haven’t seen since the last conference. I love seeing the latest work that’s happening in art history, and I love hearing artists talk about what they’re doing.
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Ever wonder how the CAA Annual Conference schedule comes together? The answer is lots of time, table space, and coffee ☕️ Here is (L-R) Mira Friedlaender, manager of the annual conference, Tiffany Dugan, director of programs and publications, and Charlene Villaseñor Black, annual conference program chair, finishing up day one. They’ll pick it back up tomorrow on day two, scheduling over 300 sessions for #CAA2019. 📌Want to join a panel? Tap the link in our profile to see which sessions are looking for contributors.
Charlene Villaseñor Black, whose research focuses on the art of the Ibero-American world, is Professor of Art History and Chicana/o Studies at UCLA. Winner of the 2016 Gold Shield Faculty Prize and author of the prize-winning and widely-reviewed 2006 book, Creating the Cult of St. Joseph: Art and Gender in the Spanish Empire, she is finishing her second monograph, Transforming Saints: Women, Art, and Conversion in Mexico and Spain, 1521-1800. Her edited book, Chicana/o Art: Tradition and Transformation, was released in February 2015. She is co-editor of a special edition of The Journal of Interdisciplinary History entitled Trade Networks and Materiality: Art in the Age of Global Encounters, 1492-1800, with Dr. Maite Álvarez of the J. Paul Getty Museum; and editor of a forthcoming issue of Aztlán focused on teaching Chicana/o and Latina/o art history. She has held grants from the Getty, ACLS, Fulbright, Mellon, Woodrow Wilson Foundations and the NEH. While much of her research investigates the politics of religious art and global exchange, Villaseñor Black is also actively engaged in the Chicana/o art scene. Her upbringing as a working class, Catholic Chicana/o from Arizona forged her identity as a border-crossing early modernist and inspirational teacher.
We launched Idea Exchange at the 2018 Annual Conference in Los Angeles in response to members who expressed an interest in holding informal roundtable discussions on topics ranging from fellowship applications and gallery representation to student engagement in the classroom and preserving women artists’s legacies.
We’re offering Idea Exchange again in 2019 and we’re looking for CAA members to serve as discussion leaders.
Propose a topic that you would like to discuss with your colleagues for a sixty-minute roundtable at the conference. It can relate to professional development, teaching, or fellowships. Suggest a discussion around current events, such as the debate surrounding Confederate monuments or the #MeToo movement in the arts. Be creative. The conversations are meant to be lively and engaging. Please submit your Idea Exchange proposals by December 14, 2018.
In order to submit an Idea Exchange topic, you will need to have your member ID and password ready. If you do not have an individual ID number and password or you do not know it, please contact member services by email at email@example.com or by phone at 212-691-1051, ext. 1.
Idea Exchange will be held in the Cultural and Academic Network Hall during the following times:
Thursday, February 14: 10:30 AM; 12:30 PM; 2:00 PM; 4:00 PM
Friday, February 15: 10:30 AM; 12:30 PM; 2:00 PM; 4:00 PM
Saturday, February 16: 10:30 AM; 12:30 PM
For more information on Idea Exchange, contact Alison Chang at firstname.lastname@example.org or by phone at (212) 392-4436.
posted by CAA — October 02, 2018
2019 CAA Annual Conference
New York Hilton Midtown
February 13-16, 2019
Four days for everyone in the arts with over 300 sessions and panels, dozens of receptions and parties, professional development workshops, lightning talks, and exhibitors. #CAA2019 #CAANYC
The CAA Annual Conference returns to New York in 2019. From February 13-16, at the New York Hilton Midtown, we welcome all those in the visual arts to attend over 300 sessions and professional development workshops, and dozens of receptions, parties, and special tours at local museums and cultural institutions. The Book and Trade Fair and the Cultural and Academic Network Hall, with hundreds of booths showcasing the latest products, programs, and books, will occupy three floors of the Hilton New York Midtown. Our partners offering free admission and special tours this year include The Frick Collection, The Morgan Library & Museum, The Jewish Museum, Dia Art Foundation, the Rubin Museum of Art, the New York Public Library, the Neue Galerie, and many others.
The 107th CAA Annual Conference content will address the full breadth of the field of visual arts and design and examine a range of cultures, histories, and scholarship. We anticipate more than 5,000 professionals in the arts to attend the conference in New York. Sessions will include “Below the Mason-Dixon Line: Artists and Historians Considering the South,” “Deskilling in the Age of Donald Trump,” “Immigration and Inclusion in Art Museums,” “Supporting Immigrant Artists and Communities,” “Mapping Crime,” “Endangered Data,” and “Racist Human Mascots: A Guide for Artists and Designers to Determine the Qualifications of Racism in Commercialized Art,” among hundreds of other panels.
The Distinguished Scholar for the 107th CAA Annual Conference is Dr. Elizabeth Boone, the Martha and Donald Robertson Chair in Latin American Studies at Tulane University. Dr. Boone specializes in Pre-Columbian and early colonial art of Latin America.
New this year, the CAA Annual Conference will feature twenty professional development workshops supported by The Emily Hall Tremaine Foundation. The workshops add to CAA’s annual workshop offerings for a total of thirty available workshops at the Annual Conference. The Emily Hall Tremaine Foundation workshops will be led solely by MFA candidates and adjunct faculty with the aim of strengthening practical, hands-on skills for studio artists as well as providing professional development opportunities.
Once again, CAA will offer a number of travel grants and scholarships to individuals looking to attend the Annual Conference. With the generous support of Blick Art Materials and Routledge, Taylor & Francis, CAA will provide eight student member registrants with $250 each to attend the conference.
We look forward to seeing you in NYC!
Please contact Member Services at email@example.com or at 212-691-1051, ext. 1 with any questions.