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Kanwal Khalid was a participant in the 2014 CAA-Getty International Travel Grant Program. A professor of fine arts at University of the Punjab in Pakistan, she specializes in the history of South Asian art and design with a particular focus on miniature painting in nineteenth-century Lahore. Khalid is also a practicing miniature painter and former curator of paintings at the Lahore Museum. Below she describes her experiences at the 102nd Annual Conference in Chicago.

Just when you think you have seen it all, something turns up and surprises you with its novelty and magnitude. The College Art Association did just that when I attended its Annual Conference in Chicago last February. For me, it became more than attending a conference; it was the experience of a lifetime that changed many of my perspectives.

In Pakistan, art history has always been part of the academic study of fine arts, but now it has become an independent discipline in its own right. This is a relatively recent development, of which I have been a part, and art history is enjoying a high status for the first time in the history of Pakistan. But still it is a comparatively new field. When I came to the Chicago conference, it was a complete surprise to realize that thousands of people share the same passion. CAA and the Getty Foundation have caught a tiger by the tail that is growing fast and expanding everywhere.

The chill of Chicago and the layers of snow couldn’t mar the fiery passion of the scholars, students, artists, and art historians participating in the conference. Interactive sessions, exhibitions, bookstalls, art-supply booths—this was a completely magic world for me. To breathe in thoughts and objects that are the passion of my life was a real treat.

Another dimension of knowledge was listening to presentations by the other nineteen recipients of CAA’s International Travel Grant Program and realizing what wonderful work was going on in their countries regardless of all the challenges they face on daily basis, very similar to the situation in my own country.

Outside the grandeur of the Hilton Hotel, it was the world of museums and modern architecture. I really liked the friendly size of museums in Chicago, which were not as overwhelming as other institutions I have visited, where there’s always a sense of missing a lot even after seeing so much. In all the museums that I visited in Chicago, I was able to return to many of my favorite galleries more than once during the week.

And then a bad snowstorm hit just as we were departing Chicago for New York. Our destination was the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts, and I will not be exaggerating if I call it a researcher’s paradise. The library was a dream-come-true. The best part for me was being surrounded by mountains—the Berkshires were an enchanted land containing everything I could desire. Here, we raised questions, made suggestions, and challenged old concepts in a true scholarly approach.

The time passed too quickly, and we were saying goodbye to each other at Penn Station in New York City, with a hope that someday we will meet again. I traveled south to give a lecture in Delaware and then attend a meeting in Washington, DC. My experience at CAA turned out to be a great asset for these events, where I imparted my knowledge of South Asian art and culture with more confidence and vigor, especially during a briefing to the South Asian desk at the US State Department about the contemporary educational and cultural situation of Pakistan.

CAA’s 2014 Annual Conference was a life-changing event. Now I’m more confident about my research and teaching methodology because a comparison with other approaches helped me improve my own ways of doing things. I’m so very much looking forward to attending the conference next year.

After returning to Pakistan, I have talked with my students about the potential and scope of CAA and to encourage them to become members. This will give them an exposure to a world of dedicated art historians, enthusiastic academicians, and talented artists, with endless opportunities for those who have the judgment and ability to take advantage of them.

Image Caption

Kanwal Khalid in Chicago.

Filed under: Annual Conference, International

After last month’s Annual Conference, recipients of CAA’s 2014 International Travel Grants were invited to contribute short articles reflecting on their experiences in Chicago. What follows is a personal reminiscence from Lilianne Lugo, an educator, administrator, and playwright based in Havana, Cuba. Lugo studies the relationship between the history of art and the history of theater, as well as the intersections of contemporary art practice and the performing arts. She is professor and vice dean of research and postgraduate studies at the Universidad de las Artes in Havana, Cuba.


The persistence of melancholy. The persistence of the friends I have released to oblivion. The persistence of the memories of other cities, other people that I miss. I walk in an unknown city. I can barely breathe, it’s so cold. My best friend wrote me an email. “What are you doing?” he asks. “I miss you….” But when I wrote him back I can only send him a picture of my foot on the snow … it’s my way of embracing the spirit of life, my way of saying that I am seizing and enjoying the opportunities that suddenly emerge in our lives and change it forever. Just a few moments in life can be counted like that, and this is one of them.

First time in the snow. From the plane I can see the frozen ground. Behind I have left the unbearable heat of Havana and the noise of its streets. First time in Chicago. First time in the United States. First time at CAA’s conference. So many impressions, so many new people. I can write only in first person singular. I can’t speak for the others. I can’t talk about what I haven’t seen before.

For a couple of days the Hilton Chicago is invaded by hordes of art historians, artists, professors, and recruiters. It’s a huge event, and the whole city seems to inhale a whirlwind of art. Exhibitions, talks, panels, and informal gatherings that interrupt the rhythm of daily routines and establish a different understanding of reality. In a world of white ground, how to conjure the fire of masterpieces? How can we understand and explain (if that’s possible) from a warm and carpeted hotel the always ungraspable world of art and art history?

For twenty people each year, the College Art Association and the Getty Foundation make it possible to attend this conference. That means twenty people in the world receive a gift to come to the States and share and learn what we know about the art in our countries with colleagues from all over the US. This time the group is composed of people from Egypt, Romania, Bulgaria, Russia, South Africa, Portugal, Poland, Cuba, Argentina, Chile, Brazil, Uganda, Ghana, Cameroon, Estonia, Pakistan, Malaysia, Bangladesh, Nigeria, and Croatia.

Some images of those days come to my mind: the day of the preconference, in which each of us presented a paper about our research, and the discussion afterward about so many different topics. Art Shay’s exhibition My Florence at the Museum of Contemporary Photography at Columbia College Chicago that we, as a group, visited together. In the library of the college we saw the photographs and the artist himself. It was the story of his life, the little moments he shared with his wife and family, and it was so impressive to see him, with the energy and look that only years can bring. Or the exhibition at the DePaul Art Museum, The Sochi Project: An Atlas of War and Tourism in the Caucasus, about the 2014 Winter Olympic Games in Sochi, Russia, and the environment of that particular area that, in the former days of Communism, was the recreational spot for Joseph Stalin. And then we walked with our graduate-student host to see the Lakeview neighborhood nearby. Or the meetings with so many bright and marvelous people….

Then, when the conference ended, another trip was waiting for us, to the Clark Art Institute in Massachusetts. From the plane’s window we could see Manhattan and the Statue of Liberty; at LaGuardia airport we said goodbye to our fellow travel-grant recipient Mahmuda Khnam, who was feeling sick and couldn’t travel to Williamstown. We talked on the drive north and shared our opinions, we talked about everything: Brazilian soap operas, LGBT rights, curatorial practices, communism, incomes, outcomes, food, and snow. Then, a warm welcome at the Clark, a very special place in a beautiful setting where studying takes place in real luxury. Outside it snowed all day long, but inside the Clark was joyful and cozy, as we were received in that sanctuary of knowledge like kings and queens.

Now, in the sun again, I remember with joy the city of Chicago, the museums, the extraordinary collection of the Art Institute, the people of CAA, my fellow grant recipients, and, of course, all that I have learned about not only specific issues related to my research, but also the methodologies and approaches that many colleagues are currently using. I learned, too, about how things work in the professional world of art and art history in the United States.

I began this essay talking about melancholy. It’s the feeling I get when I think about those moments during CAA’s conference. Portuguese had a beautiful word to describe it: saudade. And that would be the best word, because even in Spanish nostalgia or melancolía are not the same. I cherish those moments. While I am thinking about what lies ahead, I am eager to come back and share with my new colleagues the fruits of another year of work.

Image Caption

Lilianne Lugo.

Filed under: Annual Conference, International

The 2015 Call for Participation for the 103rd Annual Conference, taking place February 11–14, 2015, in New York, describes many of next year’s programs sessions. CAA and the session chairs invite your participation: please follow the instructions in the booklet to submit a proposal for a paper or presentation. This publication also includes a call for Poster Session proposals and describes the seven Open Forms sessions.

Listing more than one hundred panels, the 2015 Call for Participation is only available as a PDF download; CAA will not mail hard copies of this twenty-eight-page document.

The deadline for proposals of papers and presentations for the New York conference is Friday, May 9, 2014.

In addition to dozens of wide-ranging panels on art history, studio art, contemporary issues, and professional and educational practices, CAA conference attendees can expect participation from many area schools, museums, galleries, and other institutions. The Hilton New York is the conference headquarters, holding most sessions, Career Services, the Book and Trade Fair, ARTspace, special events, and more. Deadline: May 9, 2014.


For more information about proposals of papers and presentations for the 2015 Annual Conference, please contact Lauren Stark, CAA manager of programs, at 212-392-4405.

This year’s recipients of CAA’s International Travel Grants arrived in Chicago on Sunday, February 9, a few days in advance of the Annual Conference. Although the temperature outside was freezing, the mood among the program’s participants was considerably warmer due to their enthusiasm and friendliness. Funded by a generous grant from the Getty Foundation, the grantees (as pictured above from left to right) included:  Katerina Gadjeva (Bulgaria), Freeborn Odiboh (Nigeria), Susana S. Martins (Portugal), Kanwal Khalid (Pakistan); Magdalena Nowak (Poland), Adriana Oprea (Romania), Cezar Bartholomeu (Brazil), Daria Kostina (Russia), Eddie Butindo-Mbaalya (Uganda); Lilianne Lugo Herrera (Cuba), Laris Borić (Croatia), Josefina de la Maza Chevesich (Chile), Fernando Martinez Nespral (Argentina), Portia Malatjie (South Africa), Mahmuda Khnam (Bangladesh), Rael Artel (Estonia); Ahmed Wahby (Egypt), Hugues Heumen Tchana (Cameroon), Heba Nayel Barakat Hassanein (Malaysia), and Eric Appau Asante (Ghana). For some, it was their first visit to the United States; for all, it was their first to Chicago and to a CAA Annual Conference.

Now in its third year, CAA’s International Travel Grant Program aims to bring a more diverse and global perspective to the study of art history by generating international scholarly exchange. Over time, the program will build CAA’s international membership and strengthen its connections to an increasingly global art community. The international travel grant recipients were selected by a jury of CAA members from over one hundred applicants based on the following criteria: all had to be art history professors, artists who teach art history, or museum curators with advanced degrees in art or art history; they had to be from countries not well represented in CAA’s membership; and they had to demonstrate that attending the conference would significantly support or strengthen their work.

With additional support from the National Committee for the History of Art (NCHA), several CAA members—including members of its board of directors and International Committee and representatives from NCHA—took part in the visitors’ activities throughout the conference week, serving as hosts and/or participants in a preconference session about international topics in art history. This year graduate students from Chicago-area universities also participated to assist the grant recipients in visiting museums and galleries around town. Through informal conversations, excursions, and meals, these CAA members introduced grantees to colleagues in their fields, advised them about conference activities, and exchanged information about the practice of art history in their countries. For many, the week’s activities marked the beginning of new friendships and scholarly collaborations, to be continued in various countries around the world and at future CAA conferences.

A highlight of this year’s program was the full-day preconference about International Topics in Art History held on Tuesday, February 11, 2014. Each of the grant recipients gave presentations about their work, addressing topics such as art and national identity, international issues in contemporary art, cross-cultural influences on artistic styles, and curriculum reassessments of art historical training. The talks featured a wide range of art, from Renaissance arches to Islamic-Hispanic domestic architecture, from communist-era paintings in Poland and Russia to contemporary art in Estonia, South Africa, and Malaysia. Following the presentations, Rick Asher, professor of art history at the University of Minnesota, led a lively discussion that further explored these topics and related issues about how art history is practiced in different parts of the world. Joining him were Professors Mark Cheetham (University of Toronto), Jennifer Milam (University of Sydney), Steven Nelson (UCLA), and museum curator Joanne Pillsbury (Metropolitan Museum of Art).

“The diversity of the grantees was astonishing, and their respective self-introductions brought very much to the meeting. It was clear that nobody had had such opportunities of meeting colleagues from so many distant cultures and countries as we did that day.”
–Eva Forgacs, professor of Russian and Central European art history and a host for this year’s program

Later in the week, grantees attended a session sponsored by CAA’s International Committee entitled Topics in Global Art History: Historical Connections. The first in a series of sessions on global art history, this year’s panel included presentations by two former grant recipients, Shao-Chien Tseng (Taiwan) and Trinidad Perez (Ecuador). The goal going forward is to solicit proposals for papers from former grantees to reinforce connections between them and CAA members.

CAA’s International Committee remained centrally involved in planning this year’s travel grant program. We are particularly grateful to Ann Albritton, outgoing chair of the committee, for her enthusiastic support. In addition to co-organizing the session on Topics in Global Art History (with committee member Gwen Farrelly), Ann offered guidance on program plans, lined up several hosts, and served as an energetic host herself.

At the close of the week’s activities, grant recipients and hosts met again to report on what they had learned and how it will impact their work in the future. Several discussed preliminary plans to co-organize meetings, guest curate exhibitions, and/or arrange guest lectures at each other’s universities. Their experiences were well-summarized by Laris Borić, who wrote after he returned home:

Personally I was deeply impacted by the enthusiasm and dedication of some of the speakers at the conference, CAA staff and my fellow grant recipients. As I have already said in one of the debates, awareness that we all share a common passion and dedication towards research and teaching made me feel I belong to a common tribe or nation made of art historians wherever they come from.
–Laris Borić, professor of Renaissance art and architecture and grant recipient from Croatia

Image Captions

First: 2014 CAA International Travel Grant Recipients (left to right): Katerina Gadjeva (Bulgaria), Freeborn Odiboh (Nigeria), Susana S. Martins (Portugal), Kanwal Khalid (Pakistan); Magdalena Nowak (Poland), Adriana Oprea (Romania), Cezar Bartholomeu (Brazil), Daria Kostina (Russia), Eddie Butindo-Mbaalya (Uganda); Lilianne Lugo Herrera (Cuba), Laris Borić (Croatia), Josefina de la Maza Chevesich (Chile), Fernando Martinez Nespral (Argentina), Portia Malatjie (South Africa), Mahmuda Khnam (Bangladesh), Rael Artel (Estonia); Ahmed Wahby (Egypt), Hugues Heumen Tchana (Cameroon), Heba Nayel Barakat Hassanein (Malaysia), Eric Appau Asante (Ghana) (photograph by Bradley Marks).

Second: Joanne Pillsbury and Eric Asante (photograph by Bradley Marks).

Third: Fernando Martinez Nespral and Mahmuda Khnam (photograph by Bradley Marks).

Fourth: Deborah Marrow from the Getty Foundation talks with grant recipients at a reception following the preconference (left to right): Eddie Butindo-Mbaalya, Cesar Bartholomeu, Hugues Heumen Tchana, Freeborn Odiboh, Eric Appau Asante (photograph by Bradley Marks).

In late January CAA published Copyright, Permissions and Fair Use among Visual Artists and the Academic and Museum Visual Arts Communities. The report—available as a free download on CAA’s website—reveals a situation in which uncertainty about copyright law and the availability of fair use, particularly in the digital era, has made many practitioners risk-averse, too often abandoning or distorting projects due to real or perceived challenges in using copyrighted materials. These findings are part of an ongoing fair-use initiative that will conclude with the development of a code of best practices related to the use of copyrighted materials.

You can now go to CAA’s YouTube page to watch a discussion about the fair-use initiative that took place at the 2014 Annual Conference in Chicago. In this video, Christine Sundt, chair of CAA’s Committee on Intellectual Property, moderates a discussion with the project’s lead researchers, Patricia Aufderheide and Peter Jaszi, professors of communications and law, respectively, at American University in Washington, DC; Anne Collins Goodyear, president of the CAA Board of Directors; Jeffrey Cunard, CAA’s legal counsel and cochair of the Task Force on Fair Use; and Paul Catanese, associate chair and associate professor in the Department of Interdisciplinary Arts at Columbia College Chicago and chair of the New Media Caucus, a CAA affiliated society.

Please share this video with your friends and send CAA your thoughts about the project!

CAA’s fair-use initiative is supported by a major grant from the Andrew W. Mellon Foundation. It also received generous preliminary funding from the Samuel H. Kress Foundation.

Image Caption

Patricia Aufderheide displays the recently published Issues Report during the Committee on Intellectual Property’s session at the 2014 Annual Conference in Chicago.

Take the 2014 Annual Conference Survey

posted by Nia Page

In an effort to improve our services, we encourage you to complete the following survey about your experiences at the 102nd Annual Conference in Chicago last month. This survey should take only a few minutes to complete. We appreciate your feedback and your support and hope to see you at the 103rd Annual Conference in New York, to be held February 11–14, 2015.

Survey link:

Please complete the survey by Friday, March 14, 2014. Thank you.

Thanks to 2014 Career Services Mentors and Leaders

posted by Emmanuel Lemakis

CAA wishes to thank the artists, scholars, curators, critics, educators, and other professionals in the visual arts who generously served as Career Services mentors—for the Artists’ Portfolio Review, Career Development Mentoring, the Mock Interview Sessions, and the Professional Development Roundtable Discussions—during the 2014 Annual Conference in Chicago. The organization also appreciates the work of the leaders of the Professional-Development Workshops and the speakers at Orientation.


Susan Altman, Middlesex County College; Michael Aurbach, Vanderbilt University; and David M. Sokol, University of Illinois, Chicago (emeritus).

Artists’ Portfolio Review

Ivan Albreht, University of Miami; Elissa Armstrong, Virginia Commonwealth University; Marie Bukowski, Southern Illinois University Carbondale; Susan Canning, College of New Rochelle; Brian Curtis, University of Miami; Sandra Dupret, Fleming College; Peter Kaniaris, Anderson University; Jason Lahr, University of Notre Dame; Suzanne F. W. Lemakis, Center for Culture: Department of Fine Art, Citibank; Craig Lloyd, College of Mt. St. Joseph; Sarah Richardson, Center for Culture: Department of Fine Art, Citibank; Greg Shelnutt, Clemson University; Steve Teczar, Maryville University of St. Louis; and David Voros, University of South Carolina.

Career Development Mentoring

Susan Altman, Middlesex County College; Michael Aurbach, Vanderbilt University; Brian Bishop, Framingham State University; Leda Cempellin, South Dakota State University; Kevin Concannon, Virginia Polytechnic Institute and State University; Michelle Erhardt, Christopher Newport University; Reni Gower, Virginia Commonwealth University; Jim Hopfensperger, Western Michigan University; Dennis Ichiyama, Purdue University; Mitch Kern, Alberta College of Art and Design; Elisabeth Leach; Craig Lloyd, College of Mount St. Joseph; Patrick Luber, University of North Dakota; Mary McInnes, Alfred University; Heather McPherson, University of Alabama, Birmingham; Jo-Ann Morgan, Western Illinois University; Niki Nolin, Columbia College Chicago; Mark O’Grady, Pratt Institute; Christopher Olszewski, Savannah College of Art and Design; Morgan Paine, Florida Gulf Coast University; Doralynn Pines, Metropolitan Museum of Art (retired); David Raizman, Drexel University; Jack Risley, University of Texas at Austin; Ann M. Roberts, Lake Forest College; Dinah Ryan, the Principia; Paul Ryan, Mary Baldwin College; Greg Shelnutt, Clemson University; Gerald Silk, Tyler School of Art, Temple University; Katherine Sullivan, Hope College; Larry Thompson, Samford University; Ann Tsubota, Raritan Valley Community College; and Charles Wright, Western Illinois University.

Professional-Development Roundtable Discussions

Michael Aurbach, Vanderbilt University; Nicola Courtright, Amherst College; Brian Curtis, University of Miami; Ira Goldberg, Art Students League of New York; Joseph Henry, TIAA-CREF; Peter Kaniaris, Anderson University; Suzanne F. W. Lemakis, Center for Culture: Department of Fine Art, Citibank; Leo Morrissey, Georgian Court University; and Norie Sato, Sato Service.

Mock Interview Sessions

Steven Bleicher, Coastal Carolina University; Maria Ann Conelli, Brooklyn College, City University of New York; Carole Garmon, University of Mary Washington; Joe Girandola, University of Cincinnati; Amy Hamlin, St. Catherine University; Kim Hartswick, Brooklyn College, City University of New York; Dennis Ichiyama, Purdue University Andrea Kirsh, Rutgers University; Cory Knoedler, University of South Dakota; David LaPalombara, Ohio State University; David Lindsay, Texas Tech University; Brittany Lockard, Wichita State University; Carolyn Martin; Savannah College of Art and Design; Sally Packard, Texas Christian University; Sandra J. Reed, Savannah College of Art and Design; Kristin Ringelberg, Elon University; David Yager, University of California, Santa Cruz; and Megan Koza Young, Dishman Art Museum, Lamar University.

Brown Bag Sessions

Leda Campellin, South Dakota State University; Maria Ann Conelli, Brooklyn College, City University of New York; Jacquelyn Coutré; Amanda Hellman, Emory University; Lauren Kilroy, Brooklyn College, City University of New York; David Lindsay, Texas Tech University; Laurel Peterson, Yale University; and Megan Koza Young, Dishman Art Museum, Lamar University.

Professional-Development Workshops

Susan Altman, Middlesex County College; Michael Aurbach, Vanderbilt University; Steven Bleicher, Coastal Carolina University; Mika Cho, California State University, Los Angeles; Angela Faris-Belt, independent artist; Elaine Grogan Luttrull, Minerva Financial Arts; Gigi Rosenberg; David M. Sokol, University of Illinois, Chicago (emeritus); Jane Alden Stevens, University of Cincinnati; Suzanne E. Szucs, independent artist; and Blaise Tobia, Drexel University.

Report on the 2014 Annual Conference

posted by Nia Page

CAA hosted its 102nd Annual Conference from February 12 to 15, 2014, at the Hilton Chicago in Chicago, Illinois. This year’s program included four days of presentations and panel discussions on art history and visual culture, Career Services for professionals at all stages of their careers, a Book and Trade Fair, and a host of special events throughout the region. Preceding the Annual Conference was CAA’s second THATCamp, an “unconference” on digital art history that took place at Columbia College Chicago.


Over 4,000 people from throughout the United States and abroad—including artists, art historians, students, educators, curators, critics, collectors, and museum staff—attended the conference. Visual-arts professionals from over 43 countries were represented at the conference.


Conference sessions featured presentations by artists, scholars, graduate students, and curators who addressed a range of topics in art history and the visual arts. In total, the conference offered over 200 sessions, developed by CAA members, affiliated societies, and committees. Approximately 800 individuals presented their work.

Career Services

Career Services included four days of mentoring and portfolio-review sessions, professional-development workshops, and job interviews with colleges, universities, and other art institutions. Approximately 240 interviewees and 47 mentors participated in Career Services. During the week of the Annual Conference, there were 165 active jobs posted on the Online Career Center and 56 employers participating onsite.

Book and Trade Fair

This year’s Book and Trade Fair presented 108 exhibitors—including participants from the United States, the United Kingdom, the Netherlands, Belgium, Mexico, and Germany—that displayed new publications, materials for artists, digital resources, and other innovative products of interest to artists, scholars, and arts enthusiasts. The Book and Trade Fair also featured book signings, lectures, and demonstrations, as well as three exhibitor-sponsored program sessions on art materials and publishing.


ARTspace, a “conference within the conference” tailored to the needs and interests of practicing artists, presented programming that was free and open to the public, including this year’s Annual Distinguished Artist Interview with Kay Rosen. Over three hundred people attended this lively event. The scheduled interview with William Pope.L was unfortunately cancelled due to inclement weather.

ARTspace also featured four days of panel discussions devoted to visual-arts practice, opportunities for professional development, and screenings of film and video.

ARTexchange, an open-portfolio event in which CAA artist members displayed drawings, prints, photographs, small paintings, and works on laptop computers, took place on Friday, February 14. Nearly 40 artists participated in ARTexchange this year.

The Media Lounge, a space for innovative new-media programming in conjunction with ARTspace, presented the UncommonCommons project. UncommonCommons was an incubator for skills and knowledge-sharing that responded to the themes of the commons and “commoning.” The project included a series of workshops, film and video screenings, public discussions, and provocations by a range of international artists, filmmakers, activists, art critics, curators, educators, lawyers, and ethnographers.

Programmed by CAA’s Services to Artists Committee, ARTspace was made possible in part by a generous grant from the National Endowment for the Arts.

Student and Emerging Professionals Lounge

The Student and Emerging Professionals Lounge served as a hub for networking, information- sharing, collaboration, professional development, and much more. The Student and Emerging Professionals Committee hosted an incredibly informative session on “Teaching Professional Practices in the Arts” to a packed audience; five Brown Bag Sessions with attendance ranging from 25 to 60; a successful, first-ever social night; and two days of Mock Interviews at full capacity.

The SEP Lounge was sponsored by Wix workshops were held daily at the Annual Conference to captive audiences. Wix empowers creatives and entrepreneurs to build their own website—without having to write a single line of code.

Distinguished Scholar Session

Wanda M. Corn, professor emerita of art history at Stanford University, was CAA’s 2014 Distinguished Scholar. Corn was honored during a special session, sponsored by the Terra Foundation for American Art. Gwendolyn DuBois Shaw of the University of Pennsylvania chaired the session and five additional participants—Lanier Graham, Cécile Whiting, Richard Meyer, Ellen Wiley Todd, and Tirza Latimer—joined Shaw in exploring and celebrating Corn’s many contributions to American art.

Convocation and Awards

More than 400 people attended CAA’s Convocation and presentation of the annual Awards for Distinction, which honor the outstanding achievements and accomplishments of individual artists, art historians, authors, conservators, curators, and critics whose efforts transcend their individual disciplines and contribute to the profession as a whole and to the world at large. Jessica Stockholder of the University of Chicago delivered the keynote address. Video of her presentation will be posted on CAA’s website and YouTube page in the coming weeks.

The recipients of the 2014 awards are:

  • Yvonne Rainer, Distinguished Artist Award for Lifetime Achievement
  • Kay Rosen, Artist Award for Distinguished Body of Work
  • John Berger, Distinguished Lifetime Achievement Award for Writing on Art
  • T. J. Demos, Frank Jewett Mather Award
  • Lorraine O’Grady, Distinguished Feminist Award
  • Yukio Lippit, Charles Rufus Morey Book Award
  • Jeff L. Rosenheim, Alfred H. Barr Jr. Award
  • Peter C. Sturman and Susan S. Tai, Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions
  • Reni Gower, Distinguished Teaching of Art Award
  • Margaretta M. Lovell and W. J. T. Mitchell, Distinguished Teaching of Art History Award
  • Glenn Wharton, CAA/Heritage Preservation Award for Distinction in Scholarship and Conservation
  • Sascha Scott, Arthur Kingsley Porter Prize
  • Jeanne Dunning, Art Journal Award

The recipients of the 2014 Professional-Development Fellowships are:

Professional-Development Fellowships in the Visual Arts:

  • Roberta Gentry, University at Albany, State University of New York
  • Jaime Knight, University of Iowa
  • Liss LaFleur’, Emerson College
  • Patrick Segura, School of the Art Institute of Chicago
  • Valentina Vella, Columbia College Chicago

Professional-Development Fellowships in Art History:

  • Maggie M. Cao, Harvard University
  • Michelle Maydanchik, University of Chicago

Honorable Mentions in the Visual Arts:

  • Ann Bartges, University of Michigan, Ann Arbor
  • Rachael Lynn Davis, Colorado State University
  • Michelle Young Lee, New York University

Honorable Mentions in Art History

  • Lacey Baradel, University of Pennsylvania
  • Karlyn Griffith, Florida State University

Board Election and Member Vote

Results of the Board of Directors election were announced on February 14, 2014, during the Annual Members’ Business Meeting. The new directors are:

  • Helen C. Frederick, Professor, School of Art and Design, George Mason University
  • Gunalan Nadarajan, Professor and Dean, Stamps School of Art and Design, University of Michigan
  • Dannielle Tegeder, Associate Professor of Art, Art Department, Lehman College, City University of New York
  • David C. Terry, Director of Programs and Curator, New York Foundation for the Arts

They will take office at the next board meeting in May 2014.

CAA’s membership also voted in favor of an amendment to the By-laws. The board believes that this change will benefit members and sustain the services that CAA provides. The amendment also provides for flexibility in enabling CAA to make further changes to the membership structure as may be deemed desirable in the future.

Special Events

Following Convocation, the Art Institute of Chicago hosted CAA’s Opening Reception on Wednesday evening, February 12. Over 600 attendees gathered to celebrate the conference while enjoying a stroll through the Art Institute’s Modern Wing.

CAA celebrated its copublishing partnership with Routledge, Taylor & Francis, with a reception and champagne toast at the CAA booth in the Book and Trade Fair on Friday afternoon.

International Travel Grant Program

The highlight of this year’s CAA International Travel Grant Program was a full-day preconference on Tuesday, February 11, 2014. The grant recipients, who came from 20 countries from around the world, gave presentations about their work, addressing topics such as art and national identity, international issues in contemporary art, cross-cultural influences on artistic styles, and curriculum reassessments of art-historical training. The talks featured a wide range of art, from Renaissance arches to Islamic-Hispanic domestic architecture, from communist-era paintings in Poland and Russia to contemporary art in Estonia, South Africa, and Malaysia. Following the presentations, Rick Asher, professor of art history at the University of Minnesota, led a stimulating discussion that further explored the above topics as well as the differences in how art history is practiced around the world. This is the third year of the International Travel Grant Program, funded by the Getty Foundation. Additional support for the program was provided by the National Committee for the History of Art.

Online Presence

Digital media were used in a number of creative ways to expand the reach of Annual Conference programming and encourage greater interactivity:

  • Thanks to the sponsorship of Golden Artist Colors, select conference sessions were filmed and will be posted to CAA’s YouTube page in the coming weeks
  • Informational preconference Google+ Hangout and Q&A currently has 753 views
  • A free mobile app helped attendees navigate the conference. The app was downloaded 1,186 times
  • Columbia College Chicago students hosted the conference blog, reporting on panels, receptions, exhibitions, and participant experience
  • ARTspace organized Art2Make, an exhibition of 3D printed art
  • Renowned blog and podcast Bad at Sports recorded a podcast onsite at the conference

Other Exciting Highlights

  • CAA released and distributed a Fair Use Issues Report and held a discussion about the ongoing fair-use project. Video from the fair-use session will be posted to CAA’s YouTube page in the coming weeks.
  • Unscheduled performance art enlivened the Hilton Chicago during the Annual Conference

Thank You

Members of CAA’s Board of Directors and staff would like to extend their gratitude to all conference funders and sponsors, attendees, volunteers, and participants; the organization’s committees and award juries; the Hilton Chicago staff; Choose Chicago; the museums and galleries that opened their doors to conference attendees free of charge; and everyone else involved in helping to make the 102nd Annual Conference such a tremendous success!

A warm thanks to the following for their generous support of CAA:

  • Andrew W. Mellon Foundation
  • Andy Warhol Foundation for the Visual Arts
  • Art in America
  • Artstor
  • Blick Art Materials
  • Burlington Magazine
  • Columbia College Chicago
  • David L. Klein Jr. Foundation
  • Getty Foundation
  • Golden Artist Colors
  • Institute for Doctoral Studies in Visual Arts
  • National Committee for the History of Art
  • National Endowment for the Arts
  • Pearson
  • Prestel
  • Samuel H. Kress Foundation
  • School of the Art Institute of Chicago
  • Terra Foundation for the Arts
  • Wix
  • Wyeth Foundation for American Art

Save the Date

CAA’s 103rd Annual Conference will be held in New York City, February 11–14, 2015.

About CAA

The College Art Association is dedicated to providing professional services and resources for artists, art historians, and students in the visual arts. CAA serves as an advocate and a resource for individuals and institutions nationally and internationally by offering forums to discuss the latest developments in the visual arts and art history through its Annual Conference, publications, exhibitions, websites, and other events. CAA focuses on a wide range of issues, including education in the arts, freedom of expression, intellectual-property rights, cultural heritage and preservation, workforce topics in universities and museums, and access to networked information technologies. Representing its members’ professional needs since 1911, CAA is committed to the highest professional and ethical standards of scholarship, creativity, criticism, and teaching.

Filed under: Annual Conference

The Task Force on the Strategic Plan seeks member comments on the draft Strategic Plan and invites your participation at the Annual Members’ Business Meeting at the 2014 Annual Conference in Chicago on Friday, February 14, at 5:30 PM.

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