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The Getty Foundation has awarded the College Art Association (CAA) a major grant to fund the CAA-Getty International Program for the sixth consecutive year. Having completed five successful years of programming, CAA will use the grant to  underwrite the cost of bringing twenty alumni to the 2017 Annual Conference for a reunion program. The Foundation’s support will enable CAA to bring these international visual arts professionals to the conference, taking place February 15-18, 2017, in New York City. Funds will support all travel expenses, hotel accommodations, per diems, conference registrations, and one-year CAA memberships.

The reunion will focus on common themes and interests in global art history, its greatest challenges, and what can be done to overcome them. Relying on the geographic and scholarly diversity of the twenty alumni, the reunion program will explore multiple points of view related to the state of the field, including interdisciplinary and transnational approaches to art history, the nature of cross-cultural collaborations, and future directions of the discipline. The 2017 attendees, together with leading art historians from the United States, will participate in several sessions devoted to these topics throughout the conference.

Since the CAA-Getty International Program began in 2012, ninety scholars have participated in CAA’s Annual Conference. Historically, the majority of international registrants at the Annual Conference have come from North America, the United Kingdom, and Western European countries. The CAA-Getty International Program has diversified the Annual Conference, adding scholars from Central and Eastern Europe, Russia, Africa, Asia, Southeast Asia, Caribbean countries, and South America. The majority of the alumni teach art history (or visual studies, art theory, or architectural history) at the university level; others are museum curators or researchers. Prior to participating in this program, none of the alumni had attended a CAA Annual Conference.

A remarkable number of international collaborations have ensued, including an ongoing study of similarities and differences in the history of art among Eastern European countries and South Africa, attendance at other international conferences, publications in international journals, and participation in panels and sessions at subsequent CAA Annual Conferences. Former grant recipients have become ambassadors of CAA in their countries, sharing knowledge gained at the Annual Conference with their colleagues at home.

Building on the evident success of the program, alumni at the 2017 reunion will provide input on how to further strengthen the program. How can CAA better serve international members? How can it cultivate future collaborations among CAA-Getty participants and CAA members? Are there ways to broaden the reach of the program to include artists, designers, and other types of arts professionals? The views and suggestions gathered at this convening will provide valuable insights as CAA works to enlarge its international activities.

For more information on the CAA-Getty International Program and other CAA travel opportunities, visit CAA Travel Grants.

Do you have a knack for sharing your knowledge with others and are enthusiastic about doing so? CAA seeks active members who are well established in their fields to serve as leaders for 90-minute Professional Development Workshop offerings at the 2017 Annual Conference at the New York Hilton Midtown from February 15-18.

The Annual Conference Committee and Programs Department aims to provide CAA members with re-vamped, affordable, and relevant professional development opportunities for 2017. But we need your help to do it! We encourage your collaboration and we welcome your proposals! Sample titles and/or subjects could run from, “Creating Online Exhibitions” to “Thinking Outside the Tenure Track.”

For more details, requirements, and submissions please visit the submissions page.

Workshop leaders will receive complimentary conference registration, a complimentary ticket to the 2017 Opening Reception, and one year of Premium Level Membership (renewal or upgrade to commence upon current membership’s expiration date) in exchange for their work as a leader.

Deadline for submissions: Monday, July 18, 2016.

For questions and more information please contact Katie Apsey at

Filed under: Annual Conference, Workshops

NEA to Support ARTspace for 2017!

posted by CAA

National Endowment for the Arts Chairman Jane Chu has approved more than $82 million to fund local arts projects and partnerships in the NEA’s second major funding announcement for fiscal year 2016. Included in this announcement is an Art Works award of $15,000 to the College Art Association (CAA) for ARTspace, part of the CAA Annual Conference. This is the eighth consecutive year the NEA has supported ARTspace. The Art Works category supports the creation of work and presentation of both new and existing work, lifelong learning in the arts, and public engagement with the arts through 13 arts disciplines or fields.

“The arts are all around us, enhancing our lives in ways both subtle and obvious, expected and unexpected,” said NEA Chairman Jane Chu. “Supporting projects like the one from CAA offers more opportunities to engage in the arts every day.”

ARTspace is a conference within the conference tailored to the interests and needs of artists and open to all attendees. Organized by CAA’s Services to Artists Committee, it includes a large-audience session space and a media lounge. ARTspace is the site of the Annual Artists’ Interviews held on Friday afternoon. Each morning begins with coffee and tea. The 2016 Annual Conference Artists’ Interviews featured conversations between Rick Lowe and LaToya Ruby Frazier and Joyce Scott with George Ciscle.

Save the date for the 2017 Annual Conference, February 15-18 in New York City.

To join the Twitter conversation about this announcement, please use #NEASpring16. For more information on projects included in the NEA grant announcement, go to

Thank you to all our CAA members and conference submitters for the hard work in pulling together sessions and papers for the 2017 Annual Conference in New York, February 15-18. We are happy to report that we received over 850 submissions! This is a record number for CAA and none of this would be possible without the support and interest of our members, scholars, and practitioners in the visual arts. We thank you also for submitting materials in the shorter submission timeframe that came along with the changes to the Annual Conference .

Now begins the unenviable task of reviewing and selecting sessions and papers, the timeline for which you will find below.

  • June 3 – Annual Conference Committee meets to select sessions and papers
  • June 20 – Notification sent regarding approved sessions and papers
  • July 1 – Call for Participation for approved sessions soliciting contributors announced
  • August 30 – Paper titles and abstracts due to chairs of sessions soliciting contributors

Here’s what attendees to the 2016 Annual Conference in Washington, DC said [Video].

Annual Conference participants and attendees must be current CAA members and must register for the conference. Save $75 on a membership and registration package with a Premium Level Membership over Basic Level Membership.

The 105th CAA Annual Conference will be held at the Hilton New York Midtown from Wednesday, February 15 through Saturday, February 18. Registration opens in early fall 2016. CAA’s Annual Conference consists of four days and hundreds of presentations, panel discussions, workshops, special events, and exhibitions exploring the study, practice, and history of art and visual culture. As the best-attended international forum in the visual arts, the Annual Conference offers an unparalleled opportunity to expand your professional network, meet with potential employers, and strengthen your skills in a professional-development workshop, mentoring  session, or portfolio review.

Filed under: Annual Conference

CAA invites nominations and self-nominations for at-large members of the Annual Conference Committee to serve a three-year term, beginning on May 1, 2016. We welcome all members to participation in the nomination process.  Working with the Programs Department staff, this committee selects the sessions and shapes the program of the Annual Conference. The committee ensures that the program will reflect the goals of the association and of the Annual Conference, namely, to make the conference an effective place for intellectual, aesthetic, and professional learning and exchange, and to provide opportunities for participation that are fair, equal, and balanced.

The Annual Conference Committee meets at least two times a year at the call of the vice president for Annual Conference and the committee’s chair. Members must be available throughout May and June to review and select 2017 conference content from the submitted proposals. Please send a 150-word letter of interest and a CV to Katie Apsey, CAA manager of programs. Deadline: April 15, 2016.

CAA invites nominations and self-nominations for at-large members of the Annual Conference Committee to serve a three-year term, beginning May 1, 2016. Working with the Programs Department staff, this committee selects the sessions and shapes the program of the Annual Conference. The committee ensures that the program will reflect the goals of the association and of the Annual Conference, namely, to make the conference an effective place for intellectual, aesthetic, and professional learning and exchange, and to provide opportunities for participation that are fair, equal, and balanced.

The Annual Conference Committee meets at least two times a year at the call of the vice president for Annual Conference and the committee’s chair. Members must be available throughout May and June to review and select 2017 conference content from the submitted proposals. Please send a 150-word letter of interest and a CV to Katie Apsey, CAA manager of programs. Deadline: April 15, 2016.

Meeting Linda Nochlin at the CAA Annual Conference in Washington, DC

posted by María Isabel Baldasarre, associate professor, Universidad Nacional de San Martin, Buenos Aires (Argentina) and 2016 participant in the CAA-Getty International Program

On the last day of the CAA Annual Conference, after an intense week of activities, I decided to end the experience by attending the session Linda Nochlin: Passionate Scholar.

After several days I still had problems finding the proper rooms for talks and meetings, but I arrived at Salon 2 on the Lobby Level and saw my colleague Georgina Gluzman, who was already seated in the auditorium. I greeted her with a cheek kiss—as you may know, we Argentineans are fond of kissing hello—and asked her straight up, “Where is Linda?” She answered, “There she is, seated in the front row.” We stared at each other with knowing smiles. Without saying anything, we realized that this was our moment to get to know Linda Nochlin.

We approached the front row and stood beside someone who was finalizing details with Linda. She immediately realized we were there and eager to talk to her. She made eye contact with us and gave us a friendly smile. We were thrilled to meet the person who has been such a strong influence on our art-historical studies and perspectives, as both Georgina and I are nineteenth-century scholars. We chatted with her and were even more amazed to discover that she is such a friendly and keen person. We talked about what her work means to us and the large scope of her legacy. She kindly accepted our request to pose for a selfie. In the photo, Linda is smiling—with that terrific modern haircut—and flanked by Georgina and me. We couldn’t hide our emotions.

During the session, we experienced a rollercoaster of sensations. We listened to Linda’s colleagues, friends, students, and family members speak about her. They not only honored her intellectual accomplishments, but also showed how kind and funny Linda is as a human being. Some insights were repeated in every story: she is always attentive to newcomers and makes them feel comfortable; she finds joy in being surrounded by young people (and vice versa); she is a great host, creating spaces for talking, eating, and laughing wherever she lives. As they all made clear, these characteristics are not just a side of her amazing personality but the fuel that feeds her vital, unprejudiced look at art, a look that has often moved beyond the seriousness of the art history canon and traditions. Disciples and friends recalled how Linda empowered them to practice a free and loving way of looking, toward both art and themselves.

The feminist art historian Moira Roth encouraged us to read aloud a poem Linda had sent her when she couldn’t attend her birthday party. After a detailed recollection of images of misery from Jean-François Millet to Gustave Courbet and Victor Hugo, Linda concluded in a very sardonic way: “I know misery, and I can say it’s not nice.” The poem was clever proof of her sense of irony and the passionate way, deprived of formalism, in which she has faced art-historical themes. It is this freedom that allowed her to understand impressionism as a “special inclination of realism,” as Molly Nesbit recalled from her notes of Linda’s classes at Vassar in the 1970s. This idea, which proved central in the reconsideration of nineteenth-century modernities and the questioning of the uniqueness of the impressionist movement, has been fruitful for Latin American art history. It has allowed scholars to examine the supposed delay of Latin American painters and their particular approach to the so-called nineteenth-century avant-gardes. As I already mentioned, Nochlin’s legacy reaches far beyond the subjects and places covered by her influential texts.

It was deeply moving to listen to Aruna D’Souza recount how Linda’s perspective on painted bodies contributed to the acceptance and love of her own physical imperfections. The audience burst into laughter when Linda’s charming granddaughter, Julia Trotta, recalled how her grandmother’s book on Andy Warhol’s nudes was an unusual object of desire in her early teen years. The story proved to her, once and for all, that hers was not an “ordinary granny.”

These are some of my recollections of what was a memorable experience at the CAA Annual Conference. If Nochlin’s oeuvre has—since the beginning of my career—modeled me as an art historian, I can now say that meeting her and her circle has changed me as a person.

Image caption: Georgina Gluzman (2015 CAA-Getty International Program participant), Linda Nochlin, and Marisa Baldasarre (2016 CAA-Getty International Program participant)

Filed under: Annual Conference, International

Thanks to 2016 Career Services Mentors and Workshop Leaders

posted by Emmanuel Lemakis and Tiffany Dugan

CAA wishes to thank the many 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 Interviews, and the Professional Development Roundtable Discussions—during the 2016 Annual Conference in Washington DC. CAA 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 Terri Weissman, University of Illinois, Urbana-Champaign.

Artists’ Portfolio Review

Susan Canning, College of New Rochelle; Jill Conner, Independent Critic and Curator; Brian Curtis, University of Miami; Peter Kaniaris, Anderson University; Suzanne Lemakis, Citigroup (retired); Craig Lloyd, Mt. St. Joseph University; Judith Pratt, Judith Pratt Studio; and David Voros, University of South Carolina.

Career Development Mentoring

Susan Altman, Middlesex County College; Michael Aurbach, Vanderbilt University; Leda Cempellin, South Dakota State University; James Farmer, Virginia Commonwealth University; Toni Guglielmo, Getty Leadership Institute, Claremont Graduate University; Dennis Ichiyama, Purdue University; Mark O’Grady, Pratt Institute; Christopher Olszewski, Savannah College of Art and Design; Doralynn Pines, Metropolitan Museum of Art (retired); Judith Pratt, Judith Pratt Studio; Florence Quideau, Borough of Manhattan Community College, City University of New York; Andrew Jay Svedlow, University of Northern Colorado; Ann Tsubota, Raritan Valley Community College; Philip Van Keuren, Southern Methodist University; and Chad Wesley Airhart, Carson-Newman University.

Professional Development Roundtable Discussions

Michael Aurbach, Vanderbilt University; Peter Kaniaris, Anderson University; Brian Curtis, University of Miami; Suzanne Lemakis, Citigroup (retired); and Leo Morrissey, Georgian Court University.

Mock Interview Sessions

Susan Altman, Middlesex County College; Maria Ann Conelli, Brooklyn College, City University of New York, Brooklyn; Erin C. Devine, Northern Virginia Community College; Carole Garmon, University of Mary Washington; Christian J. Gerstheimer, El Paso Museum of Art; Terence Hannum, Stevenson University; Kim Hartswick, City University of New York; David Howarth, Zayed University; Dennis Ichiyama , Purdue University; Matt King, Virginia Commonwealth University; Andrea Kirsh, Independent Scholar and Rutgers University; Jason Lahr, University of Notre Dame; David LaPalombara, Ohio University; Jo-Ann Morgan, Western Illinois University; Mark O’Grady, Pratt Institute; Arthur Blake Pierce, Valdosta State University; Thomas Post, Kendall College of Art and Design, Ferris State University; Patricia Joan Sarro, Youngstown State University; Mattie M. Schloetzer, National Gallery of Art; and Megan Koza Young, Prospect New Orleans.

Brown Bag Lunches and Sessions

Leda Cempellin, South Dakota State University; Rachel P. Kreiter, Spelman College; Sooyoun Lee, Cornell University; Brittany Lockard, Wichita State University; Tamryn McDermott, George Mason University and Northern Virginia Community College; Lauren Puzier, Sotheby’s Institute of Art; Annie Storr, Montserrat College of Art; Jenny Tang, Yale University; and Amanda S. Wright, University of South Carolina; and Megan Koza Young, Prospect New Orleans.

Professional Development Workshops

Susan Altman, Middlesex County College; Barbara Bernstein, Virginia Center for the Creative Arts and University of Virginia; Steven Bleicher, Coastal Carolina University; Mika Cho, California State University, Los Angeles; Chris Coleman, University of Denver; Curtis Fletcher, University of Southern California; Ronda Grizzle, Scholars’ Lab, University of Virginia Library; Sharon Leon, George Mason University; Lisa Reilly, University of Virginia; Gigi Rosenberg, Author and Artist; David Sokol, University of Illinois, Chicago (emeritus); and Blaise Tobia, Drexel University.

The deadline to propose a Poster Session is Thursday, September 15, 2016.

CAA invites individual members to submit abstracts for Poster Sessions at the 105th Annual Conference, taking place February 15–18, 2017, in New York. Poster Sessions—presentations displayed on bulletin boards by an individual for small groups—usually include a brief narrative paper mixed with illustrations, tables, graphs, and similar presentation formats. The poster display can intelligently and concisely communicate the essence of the presenter’s research, synthesizing its main ideas and directions. Colorado State University has published useful general information on Poster Sessions.

Poster Sessions offer excellent opportunities for extended informal discussion and conversation focused on topics of scholarly or pedagogical research. Posters are displayed for the duration of the conference, so that interested persons can view the work even when the presenters are not physically present. Poster Sessions take place in a high-traffic area, in close proximity to the Book and Trade Fair and conference rooms.

Proposals for Poster Sessions must include the following:

  • Title of Poster Session
  • Summary of project, not to exceed 250 words
  • Name of presenter(s), affiliation(s), and CAA member number(s)
  • A two-page CV of presenter
  • Complete mailing address and telephone number
  • Email address

Proposals are due by Thursday, September 15, 2016. Send all materials to Katie Apsey, CAA manager of programs. A working group of the Annual Conference Committee selects Poster Sessions based on individual merit and space availability at the conference. (Approximately ten posters may be accepted.) Accepted presenters must maintain their membership status through the conference.

Displays must be assembled by 10:00 AM on Thursday, February 16, and cleared by 2:00 PM on Saturday, February 18. Live presentations last ninety minutes and are scheduled during the lunch breaks on Thursday and Friday, 12:00–1:30 PM. During this time, presenters stand by their poster displays while others view the presentation and interact with the presenters.

CAA assigns presenters one freestanding bulletin board (about 4 x 8 feet of display space) onto which they can affix their poster display and other materials, as well as a table to place materials such as handouts or a sign-up sheet to record the names and addresses of attendees who want to receive more information. CAA also provides pushpins or thumbtacks to attach components to the bulletin board on the day of installation.

Printed materials must be easily read at a distance of four feet. Each display should include the title of the presentation (104-point size) and the name of the presenter(s) and his or her affiliation(s) (72-point size). CAA recommends a point size of 16–18 or larger for body text. No electrical support is available in the Poster Session area; you must have your own source of power if using a laptop or other forms of electronics.


For more information about proposals of Poster Sessions for the 2017 Annual Conference, please contact Katie Apsey, CAA manager of programs, at 212-392-4405.

2016 Annual Conference Highlights

posted by Nia Page

CAA hosted its 104th Annual Conference from February 3 to 6, 2016, at the Washington Marriott Wardman Park in Washington, DC. 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.


Close to 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 49 countries were represented.


Conference sessions featured presentations by artists, scholars, designers, 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. Over 750 individuals presented their work.

Career Services and Professional Development

Career Services included four days of job interviews with colleges, universities, and other art institutions while Professional Development offerings included career mentoring and portfolio-review sessions, professional-development workshops, professional development roundtables and a variety of Student and Emerging Professional Committee programming such as Brown Bag discussions and Mock Interviews. During the professional development programming, approximately 30 professionals served as mentors to 120 young professionals, 5 established professionals led free professional roundtable discussions, and 13 Visual Arts specialists conducted development workshops throughout the conference. During the week of the Annual Conference, there were over 189 active jobs posted on the Online Career Center and more than 24 employers participating onsite.

Book and Trade Fair

This year’s Book and Trade Fair presented 98 exhibitors—including participants from the United States, France, Germany, Belgium, Italy, Singapore, Canda, Mexico, United Kingdom and Ukraine—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. The conference had generous sponsorship support from the exhibitors Artforum/Bookforum, Art in America, Blick Art Materials, Bloomsbury, Frieze, Laurence King Publishers, Pearson, Prestel, Richmond-The American International University in London, Routledge and Yale University Press.


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 Artists’ Interviews with Joyce Scott who spoke with George Ciscle, Maryland Institute College of Art and Rick Lowe, who conversed with LaToya Ruby Frazier, Independent Artist and The School of the Art Institute, Chicago. The latter was presented as a partnership with the MacArthur Foundation to celebrate 35 years of its Fellowship program. Both Lowe and Frazier received MacArthur Fellowships in 2014 and 2015, respectively.

Watch the Annual Distinguished Artists’ Interviews

Over 150 people attended this lively event.

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 5. Nearly 35 artists participated in ARTexchange this year.

The Media Lounge, a space for innovative new-media programming in conjunction with ARTspace. This year, the Media Lounge brought together academics, new media artists, artist collectives, alternative communities, guest speakers, filmmakers, and performers to lead workshops, present work, and generate productive discussions and crowd sourcing under the conceptual framework VISIBLE/INVISIBLE, Art & Politics.

The theme, VISIBLE/INVISIBLE, Art & Politics explored the legacy of identity and representation politics, considered in the context of our present culture where individuals, organizations and ideas can be easily captured, tracked, exposed, appropriated from the circulation of digital material which simultaneously feeds capitalist media assembly lines and alternative economies. The aim of the Media Lounge programming was to foster a dialog centered on emerging artistic sensibilities that mix art and a politics of representation amid a transforming sociopolitical landscape. The setting of CAA 2016, Washington DC and an election year, offered a unique opportunity to engage in these discussions.

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 “Mentoring in the 21st Century” to a packed audience; a breakfast meet-and-greet with 200 attendees; five Brown Bag Sessions with attendance ranging from 45 to 160; a successful social night; and three days of Mock Interviews at full capacity.

Distinguished Scholar Session

Richard Powell, John Spencer Bassett Professor of Art and Art History and Dean of Humanities, Duke University was CAA’s 2016 Distinguished Scholar.

A panel including Kobena Mercer, Professor, History of Art and African American Studies at Yale University; Gwen Everett, Associate Dean of the Division of Fine Arts at Howard University; Kellie Jones, Associate Professor of Art History at Columbia University; and Suzanne Preston Blier, Allen Whitehill Clowes Professor of Fine Arts and of African and African American Studies at Harvard University joined in exploring and celebrating Powell’s many contributions.

Watch the Distinguished Scholar Session honoring Richard Powell.

Convocation and Awards

More than 1,000 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. Tania Bruguera, the Cuban performance artist, delivered the keynote address.

Watch the CAA Convocation and Keynote Talk by Tania Bruguera.

The title of Bruguera’s talk was “Aest-ethics: Art with Consequences.” Bruguera’s work on issues of free speech and immigration and her fearlessness to speak out against forces of oppression—many of which she has experienced firsthand in Cuban prisons—is important and undeniably relevant to not just the art and academic worlds, but also the world at large.

The recipients of the 2016 Awards for Distinction were:

Charles Rufus Morey Book Award
Krista Thompson
Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice
Duke University Press

Alfred H. Barr Jr. Award
Stephanie Barron and Sabine Eckmann
New Objectivity: Modern German Art in the Weimar Republic 1919–1933
Los Angeles County Museum of Art and DelMonico Books

Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions
Myroslava M. Mudrak and Tetiana Rudenko
Staging the Ukrainian Avant-Garde of the 1910s and 1920s
Ukrainian Museum

Arthur Kingsley Porter Prize
Matthew C. Hunter
“Joshua Reynolds’s ‘Nice Chymistry’: Action and Accident in the 1770s”
The Art Bulletin, March 2015

Frank Jewett Mather Award for Art Criticism
Chika Okeke-Agulu
Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria
Duke University Press

Art Journal Award
Abigail Satinsky
“Movement Building for Beginners”
Art Journal, Fall 2015

Distinguished Feminist Award
Carrie Mae Weems

Distinguished Teaching of Art Award
Sabina Ott

Distinguished Teaching of Art History Award
Patricia Berger

Artist Award for Distinguished Body of Work
Arlene Shechet

Distinguished Artist Award for Lifetime Achievement
Carmen Herrera

CAA/American Institute for Conservation Award for Distinction in Scholarship and Conservation
Debra Hess Norris

Distinguished Lifetime Achievement Award for Writing on Art
Rosalind E. Krauss

Morey and Barr Award Finalists

CAA recognizes the 2016 finalists for the Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Awards for their distinctive achievements:

Charles Rufus Morey Book Award Finalists

  • Paul Binski, Gothic Wonder: Art, Artifice, and the Decorated Style, 1290–1350, Yale University Press, for the Paul Mellon Centre for Studies in British Art
  • Elina Gertsman, Worlds Within: Opening the Medieval Shrine Madonna, Pennsylvania State University Press
  • Adam Herring, Art and Vision in the Inca Empire: Andeans and Europeans at Cajamarca, Cambridge University Press

Alfred H. Barr Jr. Award Finalist

  • Jens M. Daehner and Kenneth Lapatin, eds., Power and Pathos: Bronze Sculpture of the Hellenistic World, J. Paul Getty Museum

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

  • Timothy Verdon and Daniel M. Zolli, eds., Sculpture in the Age of Donatello: Renaissance Masterpieces from Florence Cathedral, Museum of Biblical Art, in association with D. Giles

Special Events

Following Convocation, the Katzen Arts Center at American University was host to CAA’s Opening Reception on Wednesday evening, February 3. Over 250 attendees gathered to celebrate the conference while enjoying a stroll through the museum’s permanent collections.

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 will support women who are emerging scholars at either an advanced stage of pursuing a doctoral degree (ABD) or who have received their PhD within the two years prior to the submission of the application. Diana Seave Greenwald of the University of Oxford delivered her paper “Within the grade of certain obvious criteria of merit:” Sample Bias in Art History and Earl Shinn’s The Art Treasures of America in the “Very Generally Ignorant, Flippant: Art Criticism and Mass Media in the Nineteenth Century” session and Imogen Wiltshire of the University of Birmingham presented her paper Process and Function at the New Bauhaus in Chicago: Concepts of Modernism and the Development of Therapeutic Art Practices as part of the “Modernism and Medicine” 2-part session.

CAA-Getty International Travel Grant Program

In an effort to promote greater interaction and exchange between American and international art historians, CAA brought 15 scholars from around the world to participate in the Annual Conference. This is the fifth year of the program, which has been generously funded by grants from the Getty Foundation since its inception.

The CAA-Getty International Program participants’ activities began with a one-day preconference colloquium on international issues in art history, during which they met with North American–based CAA members to discuss common interests and challenges. The participants were assisted throughout the conference by CAA member hosts, who recommended relevant panel sessions and introduced them to colleagues who share their interests.

Representatives from several CAA affiliated societies served as hosts, including the Arts Council of the African Studies Association, the Association for Latin American Art, the Society of Contemporary Art Historians, and the Society of Historians of East European, Eurasia, and Russian Art and Architecture. More information about the group’s activities will appear in upcoming articles in CAA News and on the International Desk of the CAA website.

To date, this program has brought 90 scholars from 41 different countries to participate in CAA’s Annual Conference and expanded international networking and the exchange of ideas both during and after the conference.

The 2016 recipients were:  Sarena Abdullah, Senior Lecturer, School of the Arts, Universiti Sains Malaysia, Penang; Abiodun Akande, Principal Lecturer, Department of Fine and Applied Arts, Emmanuel Alayande College of Education, Oyo State, Nigeria; María Isabel Baldasarre, Associate Professor, Universidad Nacional de San Martin, Buenos Aires, Argentina; Danielle Becker, Lecturer in Art History and Visual Studies, University of Cape Town and Stellenbosch University, South Africa; Heloisa Espada, Postdoctoral Researcher, Museum of Contemporary Art of the University of Saõ Paulo, Brazil; Ildikó Fehér, Associate Professor, Art History Department, University of Fine Arts of Hungary, Budapest, Hungary; Peyvand Firouzeh, Post-doctoral Fellow, Museum fur Islamische Kunst, Berlin, Germany; Lev Maciel, Associate Professor, National Research University, Higher School of Economics, Moscow, Russia; Bui Thi Thanh Mai, Lecturer of Art History, Head of Department of Academic Research Management and International relations, Vietnam University of Fine Arts, Ha Noi, Vietnam; Emmanuel Moutafov, Associate Professor, Director, Institute of Art Studies, Bulgarian Academy of Sciences, Sofia, Bulgaria; Ceren Ozpinar, Lecturer, Isik University and Kadir Has University, Istanbul, Turkey; Horacio Ramos, Associate Professor, Pontificia Universidad Católica del Perú; Olaya Sanfuentes, Professor,  Pontificia Universidad Católica de Chile, Paulo Silveira, Professor, Universidade Federal do Rio Grande do Sul, Porto Alegre, Brazil; Sandra Uskokovic, Assistant Professor, University of Dubrovnik, Arts & Restoration Department, Croatia.

CAA 2015 Professional-Development Fellowships

CAA awarded four 2015 Professional-Development Fellowships—two in the visual arts and two in art history—to graduate students in MFA and PhD programs across the United States. In addition, CAA has named two honorable mentions in art history and four in the visual arts. The fellows and honorable mentions also receive a complimentary one-year CAA membership and free registration for the 2016 Annual Conference where they were honored at Convocation and at a private reception.

Recipients of the fellowships in the visual arts were:

  • Delano Dunn, School of Visual Arts, $10,000
  • Derrick Woods-Morrow, School of the Art Institute of Chicago, $4,000 (gift of the Milton and Sally Avery Arts Foundation)

Recipients of the fellowship in art history were:

  • Marin Sarvé-Tarr, University of Chicago, $10,000
  • Emilie Boone, Northwestern University, $2,500 (gift of the Elizabeth A. Sackler Museum Educational Trust)

The honorable mentions for art history were awarded to: Adrian Anagnost, University of Chicago; and Monica Bravo, Brown University. For the visual arts, honorable mentions are bestowed upon: Zhiwan Cheung, Carnegie Mellon University; Sarah Hewitt, Purchase College, State University of New York; Victoria Maidhof, San Francisco Art Institute; and Kaiya Rainbolt, San Diego State University.

Board of Directors Update

Results of the Board of Directors election were announced on February 3, 2016, during the Annual Members’ Business Meeting. The new directors are: appear below.

  • Carma Gorman Associate Professor & Assistant Chair, Department of Art and Art History, University of Texas at Austin
  • Elizabeth Schlatter Deputy Director and Curator of Exhibitions, University of Richmond Museums, Richmond
  • Andrew Schulz Associate Dean for Research & Associate Professor, College of Arts and Architecture, Pennsylvania State University
  • Anuradha Vikram Lecturer, Graduate Public Practice, Otis College of Art and Design, Los Angeles

They will take office at the next board meeting in May 2016.

New board officers were elected:

  • Doralynn Pines, Vice President for External Affairs
  • Jim Hopfensberger, Vice President for Committees

Affiliated Societies

CAA would like to welcome two new affiliated societies:

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 Washington Marriott Wardman Park staff; the museums and galleries that opened their doors to conference attendees free of charge; and everyone else involved in helping to make the 104th Annual Conference such a tremendous success!

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

  • Andrew W. Mellon Foundation
  • Artforum/Bookforum
  • Art in America
  • Blick Art Materials
  • Bloomsbury
  • Frieze
  • Getty Foundation
  • Katzen Arts Center
  • Laurence King Publishing
  • National Endowment for the Arts
  • Pearson
  • Prestel
  • Richmond, The American International University in London
  • Routledge
  • Samuel H. Kress Foundation
  • Terra Foundation for American Art
  • Wyeth Foundation for American Art
  • Yale University Press

Save the Date

CAA’s 105th Annual Conference will be held in New York, February 15–18, 2017.

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.

Image Captions

Conference attendees gather for a Professional Development Roundtable (photograph by Bradley Marks)

Conference attendees meet vendors in the Book and Trade Fair (photograph by Bradley Marks)

Rick Lowe and LaToya Ruby Frazier in conversation in ARTspace (photograph by Bradley Marks)

Mentoring activities in the SEP Lounge (photograph by Bradley Marks)

Tania Bruguera speaks at Convocation (photograph by Bradley Marks)

Friends gather at the Opening Reception at the Katzen Art Center (photograph by Bradley Marks)

The 2016 participants in the CAA-Getty International Program (photograph by Bradley Marks)

Fellowship recipients and honorable mentions in art history (photograph by Bradley Marks)

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