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CAA announces the recipients of the 2017 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.

CAA will formally recognize the honorees at a special awards ceremony to be held during Convocation at the 105th Annual Conference in New York, on Wednesday, February 15, 2017, at 5:30 PM. See the conference website for full details.

Kerry James Marshall, Untitled (policeman), 2015, acrylic on PVC panel, 60 x 60 inches, 60 9/16 x 60 1/2 x 2 3/4 inches (framed) © Kerry James Marshall. Courtesy of the artist and Jack Shainman Gallery, New York.

Among the winners this year is Kerry James Marshall, recipient of the 2017 CAA Artist Award for Distinguished Body of Work. In his 35-year career painting and making art, Marshall has depicted the African American experience through a medium that has often overlooked the lives of black Americans. His current retrospective at the Met Breuer, titled “Kerry James Marshall: Mastry” (October 25, 2016–January 29, 2017), brings together nearly 80 works by Marshall. Holland Cotter in The New York Times wrote of the show glowingly: “Mr. Marshall has absorbed enough personal history, American history, African-American history and art history to become one of the great history painters of our time.”

Kerry James Marshall biography

Faith Ringgold, the winner of the 2017 CAA Distinguished Artist Award for Lifetime Achievement, is widely considered one of the most influential living African American artists. Born in Harlem in 1930, she is an artist, feminist, activist, and educator who makes use of a variety of media, including painting, quilts, sculpture, performance, and children’s books. Civil Rights, racial justice, feminism, and art history are consistent themes. Ringgold earned BS and MA degrees in art from the City College, the City University of New York, and taught in the NYC public school system for almost twenty years. Since the 1970s Ringgold has been an activist and cofounder of several feminist and antiracist organizations, along with artist Poppy Johnson, art critic Lucy Lippard, and her daughter Michelle Wallace, among others.

Faith Ringgold biography

Full list of 2017 CAA Awards for Distinction recipients

Charles Rufus Morey Book Award
Kishwar Rizvi
The Transnational Mosque: Architecture and Historical Memory in the Contemporary Middle East
University of North Carolina Press

Alfred H. Barr Jr. Award
Ruth Fine, ed.
Procession: The Art of Norman Lewis
Pennsylvania Academy of the Fine Arts, in association with the University of California Press

Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions
Carmella Padilla and Barbara Anderson, eds.
A Red Like No Other: How Cochineal Colored the World
Skira Rizzoli, in association with the Museum of International Folk Art

Arthur Kingsley Porter Prize
Christine I. Ho
The People Eat for Free and the Art of Collective Production in Maoist China”
The Art Bulletin, September 2016

Frank Jewett Mather Award for Art Criticism
Laura U. Marks
Hanan al-Cinema: Affections for the Moving Image
MIT Press

Distinguished Feminist Award
Joan Marter

Art Journal Award
Amy A. DaPonte
“Candida Höfer’s Türken in Deutschland as ‘Counter-publicity’”
Art Journal, Winter 2016

Distinguished Teaching of Art Award
Virginia Derryberry

Distinguished Teaching of Art History Award
Patricia Mainardi

Kerry James Marshall, Untitled (Looking Man), 2016, acrylic on PVC panel, 30 1/2 x 24 1/2 inches, © Kerry James Marshall. Courtesy of the artist and Jack Shainman Gallery, New York.

Artist Award for Distinguished Body of Work
Kerry James Marshall

Distinguished Artist Award for Lifetime Achievement
Faith Ringgold

CAA/American Institute for Conservation Award for Distinction in Scholarship and Conservation
Tom J. S. Learner

Morey and Barr Award Finalists

CAA recognizes the 2017 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

  • Niall Atkinson, The Noisy Renaissance: Sound, Architecture, and Florentine Urban Life, Pennsylvania State University Press
  • Elizabeth Kindall, Geo-Narratives of a Filial Son: The Paintings and Travel Diaries of Huang Xiangjian (1609–1673), Harvard University Asia Center

Alfred H. Barr Jr. Award Finalists

  • Helen Molesworth, ed., Kerry James Marshall: Mastry, Museum of Contemporary Art, Chicago, and Skira Rizzoli (honorable mention)
  • Barbara Haskell and Harry Cooper, Stuart Davis: In Full Swing, National Gallery of Art, Whitney Museum of American Art, and DelMonico Books
  • Alisa LaGamma, Kongo: Power and Majesty, Metropolitan Museum of Art
  • Adrian Sudhalter, Dadaglobe Reconstructed, Kunsthaus Zürich and Scheidegger & Spiess

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

  • Andreas Marks, ed., Tōkaidō Texts and Tales: Tōkaidō “gojūsan tsui” by Kuniyoshi, Hiroshige, and Kunisada, University Press of Florida (honorable mention)
  • Zdenka Badovinac, Eda Čufer, and Anthony Gardner, eds., NSK from “Kapital” to Capital: Neue Slowenische Kunst—An Event of the Final Decade of Yugoslavia, Moderna galerija and MIT Press
  • Geoffrey Batchen, Emanations: The Art of the Cameraless Photograph, Govett-Brewster Art Gallery and DelMonico Books
  • Valérie Rousseau, Art Brut in America: The Incursion of Jean Dubuffet, American Folk Art Museum

Contact

For more information on the 2017 Awards for Distinction, please contact Tiffany Dugan, CAA director of programs. Visit the Awards section of the CAA website to read about past recipients.

 



Saturday Symposia Sessions

posted by Christopher Howard


A day-long series of panels on subjects of importance to the membership and the wider visual-arts community, called Saturday Symposia Sessions, will take place at the 2017 Annual Conference in New York on February 18. The four topics in this special programming are: “Museums,” “The Design Field,” “International Art History,” and “Interventions in the Future of Art History.”

The “Museums” rubric opens with a session called “Cultural Preservation and Its Publics.” Next, the Design History Society, one of CAA’s eighty affiliated societies, will facilitate a discussion on “Beyond Boundaries: Art and Design Exhibitions as Transnational Exchange from 1945.” Laura Flusche, executive director of the Museum of Design Atlanta, has found three artists—Sheryl Oring, Patricia Cronin, and Susan Stockwell—to explore “Museums, Artists, and Social Change.” Ending the track is “Preservation by Other Means,” a session lead by Chad Elias and Mary K. Coffey, both of Dartmouth College, that will examine contemporary art and the destruction of cultural heritage.

For “The Design Field,” the 2017 conference will feature “Making Objects Speak: Speculative Design, Critical Making, and the Internet of Things,” led by Gwyan Rhabyt of California State University, East Bay. Following that will be “Design and Science: Catalyzing Collaborations,” chaired by Leslie Atzmon of Eastern Michigan University. Wrapping up the track is a session put together by Andrew DeRosa of Queens College, City University of New York, and Laura Scherling from Columbia University’s Teachers College, called “Ethics in Design.”

Several sessions will address “International Art History.” Nazar Kozak of the National Academy of Sciences of Ukraine will chair “Holy Images on the Move.” Next, Ittai Weinryb of the Bard Graduate Center will lead a conversation with eight panelists about “Future of the Research Institute.” Shortly after that is “Global Conversations IV” chaired by David J. Roxburgh of Harvard University. This talk, about “Transnational Collaborations and Interdisciplinary,” is the fourth and final session in a series taking place throughout the conference to celebrate five years of the CAA-Getty International Program. The last session for “International Art History” is titled “Figures and Formations of Civic Space”; four speakers are scheduled to give presentations.

For conference attendees wishing to make “Interventions in the Future of Art History,” CAA recommends following this symposium track. Karen J. Leader of Florida Atlantic University and Amy K. Hamlin of St. Catherine University will chair four sessions: “The Pragmatism in the History of Art,” “Art History Plays with Food,” “Art History as Table, Not Tower: A Practical Conversation about Diversity,” and “What Have You Done for Art History Lately? 2017 Edition.” The fifth session in the “Interventions” rubric—with the timely topic of “Defining and Exploring Socially Engaged Art History”—will be led by Cindy Persinger from California University of Pennsylvania and Azar M. Rejaie from the University of Houston, Downtown.

For full descriptions of the Saturday Symposia Sessions and lists of all speakers and the titles of their presentations, please visit the conference website.



Filed under: Annual Conference

Leave the Conference—Please!

posted by Christopher Howard


Have some free time? Looking for a good place to brainstorm 2018 session ideas over a drink? Want food recommendations other than Yelp? We love our attendees at the conference, but we also want you to leave. To help, CAA has compiled a list of staff members’ favorite places offsite. Here are a few highlights.

For drinks in midtown, CAA recommends the Library Bar, a cozy spot in the Hudson Hotel with a fireplace, books, and a pool table, and Tanner Smith’s, which boasts a great happy hour and superb cocktails. For those heading downtown, Henrietta Hudson in the West Village is a friendly bar for lesbians. In nearby Greenwich Village is Julius’, the site of a 1966 “sip in” that protested a state regulation prohibiting bars and restaurants from serving homosexuals. If watching NBA basketball or NHL hockey is your thing, the place to go is Boxers, New York’s preeminent gay sports bar, located in Hell’s Kitchen.

Everyone must eat! Within a few blocks of the conference CAA staff can recommended these three restaurants, among several others: China Grill serves upmarket Asian fusion; Fig & Olive offers upscale season Mediterranean fare and a great happy hour; and Nougatine at Jean-Georges is the home of a tasty and reasonably priced prix-fixe lunch.

A short cab or train ride away from the conference hotels are: Elephant & Castle, a charming café in the West Village; Vanessa’s Dumpling House, which dishes up inexpensive dumplings and amazing sesame pancakes, in Union Square; and Yuka, a sushi restaurant on the Upper East Side famous for its all-you-can-eat option. In the same neighborhood as Yuka is Candle 79, serving eclectic, health-conscious organic vegan dishes in swanky surroundings.

Although the Museum of Modern Art is only a half-block away from the Hilton, CAA staff recommends trekking uptown to the Met Cloisters, the Metropolitan Museum of Art’s outpost for medieval European art, as well as to various locations in Harlem for Art in FLUX. An organization whose politics lean left is Interference Archive, a library, gallery, and archive of activist and social-justice movement materials in Brooklyn.

A popular but lesser-known historical site is the Lower East Side Tenement Museum, which tells the story of urban immigration in the United States. A favorite place of contemplation for one CAA staff member is the Irish Hunger Memorial, a site in lower Manhattan that marks the struggle against hunger amid a sublime view of the New York Harbor.



Filed under: Annual Conference

Special forums at the 2017 Annual Conference in New York—taking place during the lunch hour on Wednesday, Thursday, and Saturday—will provide an opportunity for attendees to hear from colleagues, address critical issues, and continue the conversation outside the session grid. With these forums CAA hopes to provide open access to the conference to the public.

The Noon Forum Programs offer two formats. Hot Topics will address critical, time-sensitive issues in the field. The New York conference has slated sessions on “Advocating for Your Department” and “Art Criticism.”

Key Conversations feature scholars, artists, and arts professionals discussing key issues in their fields. Already scheduled for the February meeting are “Navigating Public Opposition to Museum Exhibitions,” “Learning from Experience: Fair Use in Practice,” “Hrag Vartanian with Amin Husain and Nitasha Dhillon,” and “Memorial Session.”

These programs will begin at 12:15 PM and end at 1:15 PM; they are free and open to the public. Please feel free to bring your lunch!



Filed under: Annual Conference

Coco Fusco in costume as Dr. Zira from the Planet of the Apes. Photo Gene Pittman, courtesy Walker Art Center.

Word has spread about some of the sessions and our keynote speaker at the 2017 CAA Annual Conference and Artnet News and Artnews have taken notice.

Diversity has long been a part of CAA’s history and this year’s conference is no different. Artnet News notes how race and politics are “at the forefront” of our programming this year. Our effort to find more ways to involve artists and makers in the conference has not gone overlooked either. Brian Boucher, author of the Artnet piece, cites the CAA collaboration with NYFA to offer professional development programming.

At Artnews, writer Maximilíano Durón covers our session on the impact of socially engaged art and our line up of speakers, including keynote Mary Miller, Sterling Professor of History of Art at Yale University, and artists Coco Fusco, Katherine Bradford, and Judith Bernstein.



Filed under: Annual Conference, Artists, ARTspace

CAA invites nominations and self-nominations for at-large members of the Annual Conference Committee to serve a three-year term, beginning February 2017, immediately following the 105th Annual Conference. 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 via conference call and once during the Annual Conference 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 a significant amount of material and select 2018 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: January 31, 2017.



Filed under: Annual Conference, Committees

College Art Association
Notice of 105th Annual Business Meeting
Annual Conference Convocation
February 15, 2017

  

The 105th Annual Business Meeting of the members of the College Art Association will be called to order at 5:30 p.m. on Wednesday, February 15th, at the Convocation of the 2017 Annual Conference, in West/East Ballroom, 3rd Floor, New York Hilton Midtown Hotel, 1335 Avenue of the Americas, NY, NY 10019.

CAA President, Suzanne Preston Blier, will preside. The Annual Business Meeting will be held in two parts.

AGENDA

The Agenda for the first part of the Annual Business Meeting is as follows:

  1. Call to Order and President’s Report – Suzanne Preston Blier
  2. Report by Annual Conference Chair and VP for Annual Conference – Judith Rodenbeck and N. Elizabeth Schlatter
  3. Report by Executive Director – Hunter O’Hanian
  4. Presentation of Annual Awards for Distinction – Suzanne Preston Blier
  5. Keynote Address – Mary Miller

After the Keynote Address, the Meeting will be recessed and will reconvene on Friday, February 17, 2017 from 12:15 – 1:15 p.m. in the East Ballroom, 3rd Floor at the New York Hilton Midtown Hotel, 1335 Avenue of the Americas, NY, NY 10019. The Agenda for the second part of the Annual Business Meeting is as follows:

  1. Approval of Minutes of 104th Annual Business Meeting, February 3, 2016 [ACTION ITEM] – see http://www.collegeart.org/pdf/2016-annual-business-meeting-minutes.pdf
  2. Financial Report: Teresa Lopez, Chief Financial Officer
  3. Old Business
  4. New Business
  5. Results of Election of New Directors: Suzanne Preston Blier
  6. MY CAA – Open discussion with members, board and staff regarding future growth of the Association.

Proxies

If you are unable to attend the Annual Business Meeting, please complete a proxy online to appoint the individuals named thereon to (i) vote, as directed by you, for directors, and, at their discretion, on such other matters as may properly come before the Annual Business Meeting; and (ii) to vote in any and all adjournments thereof. CAA Members will be notified when the proxy for casting votes becomes available online in early January 2017. A proxy, with your vote for directors, must be received no later than 6:00 p.m. EST Thursday, February 16, 2017.

Next Meeting

The 106th Annual Business Meeting of the College Art Association will take place on February 21, 2018, in Los Angeles.

Roberto Tejada, Secretary
College Art Association

December 12, 2016




Job Title: Program Assistant Date: February 25, 2016
Department: Programs
Supervisor: Manager of Programs

Part-time position with approximately 20 hours per week, schedule may vary with flexible hours.

COLLEGE ART ASSOCATION ANNUAL CONFERENCE:

The College Art Association Annual Conference is the largest international gathering of professionals in the visual arts. The conference brings together 4,000 of its members to participate in over 250 presentations, panel discussions, workshops, and special events on a wide range of topics on art scholarship and practice; to engage in in-depth discussions on new scholarship, innovative art, and issues in the arts today; and to connect with colleagues from across the country and around the world. The 105th annual conference will be held in New York, February 15- 18, 2017.

FUNCTION:

Reporting to the director of programs, the program assistant provides assistance to both the assistant director for annual conference and manager of programs with all daily operations of the department.

DUTIES AND RESPONSIBILITIES:

  • Assists with data entry support (e.g. NetFORUM membership database), detailed record keeping, database document production, and producing reports.
  • Assists with the coordination of the scheduling of the CAA conference sessions and events. This includes, but is not limited to, data entry, preparing spreadsheets, proof reading, and creating reports. Communicates with CAA departments on conference details as requested.
  • Corresponds with conference participants, service providers, book and trade fair exhibitors, and general membership on conference-related matters.
  • Provides internet research to source prospects for the CAA conference book and trade fair.
  • Prepare mailings sent to conference participants, exhibitors, advertisers, jurors, committee members, and volunteers. Document production and photo-copying.
  • Assist with the development of all conference publications.
  • Assists with the coordination of temporary conference staff including, scheduling, correspondence, and training.
  • Provides on-site conference support, including but not limited to assisting with all aspects of conference logistics, checking set-up arrangements, posting signs, and providing hospitality as needed.
  • Staffs Speaker Ready Room during the conference providing assistance to conference presenters and chairs as needed.
  • Provides post-conference support including compiling and summarizing event statistics.
  • Assists with financial recording keeping, including but not limited to, processing purchase orders and transactions, creating invoices, tracking expenses, and preparing ledgers and reconciliation reports.
  • Provides research and creates reports as requested.
  • Performs various administrative and clerical duties for the director of programs. Other duties as assigned.

QUALIFICATIONS:

  • Bachelor’s degree required, Master’s degree in art history or MFA preferred.
  • Ability to work independently, organize multiple concurrent tasks, work efficiently, and follow through on details.
  • Experience with spreadsheets, systems and database management, and generally accepted programs and office equipment required.
  • Excellent customer services skills, and writing and editing skills, and oral communication.
  • Should possess tact, discretion, and the ability to work confidentially.
  • The capacity to remain poised under pressure.
  • The ability and willingness to work on-site at annual conference as well as hours outside typical business day, as needed.

Send resume and cover letter to tdugan@collegeart.org

This job description is intended as a summary of the primary responsibilities of and qualifications for this position. The job description is not intended as inclusive of all duties an individual in this position might be asked to perform or of all qualifications that may be required either now or in the future.

The College Art Association is an equal opportunity employer and considers all candidates for employment regardless of race, color, sex, age, national origin, creed, disability, marital status, sexual orientation, gender expression or political affiliation.




mm-october-16
spectacle-of-late-maya-court

Mary Miller, Sterling Professor of History of Art at Yale University in New Haven, Connecticut, will deliver the keynote address during Convocation at the 2017 Annual Conference, to be held at the New York Hilton Midtown in Manhattan. Free and open to the public, Convocation takes place on Wednesday, February 15, 5:30–7:00 PM. The event will include the presentation of the annual Awards for Distinction and be followed by the conference’s Opening Reception.

Miller earned an AB in 1975 at Princeton University in Princeton, New Jersey. Six years later she completed her PhD at Yale, joined the faculty there, and has remained at the school ever since. Miller was recently appointed as senior director of the Institute for the Preservation of Cultural Heritage at Yale. She also served as dean of Yale College from 2008 to 2014 and has taken many other professorial and administrative roles over the years.

Miller is the author of The Murals of Bonampak (1986), The Art of Mesoamerica: From Olmec to Aztec (1986), and Maya Art and Architecture (1999). A frequent collaborator, she wrote The Gods and Symbols of Ancient Mexico and the Maya (1993) with Karl Taube and edited A Pre-Columbian World (2006) with Jeffrey Quilter and The Aztec Calendar Stone (2010) with Khristaan D. Villela. In recent years Miller edited Painting a Map of Sixteenth-Century Mexico City (2012), a study of a rare indigenous map in Yale’s Beinecke Library, with Barbara Mundy and completed The Spectacle of the Late Maya Court: Reflections on the Murals of Bonampak (2013) with Claudia Brittenham.

Miller has written essays for both of CAA’s scholarly print publications. In “A Re-examination of the Mesoamerican Chacmool,” published in The Art Bulletin in 1985, Miller proposed Maya sources for “the form, location, variety, and iconography” of the chacmool, the Mesoamerican stone sculptures of reclining male figures associated with war and sacrifice; previous scholarship had assumed they were of Central American origin and introduced to the Maya during the Toltec era.[1] In “Shaped Time,” published in Art Journal in 2009, Miller considered George Kubler’s 1962 landmark study The Shape of Time, “so rich in its textured treatment of the ways that streams of history and art-making intersect.”[2] She drew on her deep knowledge of ancient Mesoamerica to contextualize the book in relation to both Kubler’s research and other postwar scholarship in the field.

In 1988 Miller and Linda Schele accepted CAA’s Alfred H. Barr Award for museum scholarship for The Blood of Kings: Dynasty and Ritual in Maya Art (1986). The book, with photographs by Justin Kerr, was the catalogue for a traveling exhibition organized by Schele and Miller for the Kimbell Art Museum in Fort Worth, Texas.

Among Miller’s many accolades are a John Simon Guggenheim Memorial Fellowship and membership in the American Academy of Arts and Sciences. In 2010 she gave the fifty-ninth A. W. Mellon Lectures in the Fine Arts at the National Gallery of Art in Washington, DC—one of the highest honors in American art history.

CAA communicated with Miller via email last month. Here’s what she had to say.

How has teaching art history changed over the last twenty years?

Well, that takes us back to 1996, and just about then I volunteered to be the departmental pioneer (or guinea pig, take your pick) for digital images. I had to wrestle with the visual resources department to be allowed to build my own PowerPoints in that first iteration! And before I knew it, the slide cabinets had departed for remote storage. But that is the technical change. There are other changes that come along, especially in terms of what it is students bring to the class, and how the visual image is beginning to be the center for most of them.

What were the most important lessons you learned while serving as a dean?

You don’t want to know most of them! But, seriously, I gave a lot of thought to grading while dean. I also paid attention to learning outcomes, especially the importance of short assignments and detailed feedback early in the term. And I committed to developing opportunities for public speaking for students in class—a critical part of education but rarely intentionally instructed these days.

What does your current research concern?

My current research is focused on the gold disks of the Sacred Cenote at Chichén Itzá. The only serious study of the full set of them was published in 1952, although everyone knows them. Or thinks they know them. They’ve turned out to be even more fascinating than I though they’d be: the material—gold—was entirely new to the Maya of the ninth century, the technique of executing imagery on it entirely new as well. And then the imagery itself quite distinct. All but one of the disks were burned, ripped into pieces, crumpled, stomped upon, and then hurled into the Cenote (and the “one” is distinct only in not having been torn apart). There is meaning embedded in that dramatic ending! But three other projects have been developing along the edges. I keep all the files and notes for one of them—a history of the dealers, collectors, and materials that are critical to the formation of pre-Hispanic art as a field in the United States, 1940 onward—in a folder I call “The Rabbit Hole,” which tells you it is a wild and winding journey.

What was your first CAA Annual Conference experience like?

Oh, gosh. I think I was the driver of a group of Yale graduate students to DC [in 1979] and I am almost certain that George Shackelford was in the car. I’d had the bad fortune to have my wallet relieved of folding bills while I snoozed in the Yale Art and Architecture Library, so I scrounged together $40 to make the trip. I slept in the basement of a house some of my college friends shared near the Washington Cathedral, and then I hiked down Mass Ave to the Hilton—a good distance, I can assure you. I attended a session chaired by Joel Snyder that thrilled me. I watched a grad-school colleague give a presentation on African time, among other talks, and I had a lot of fun.

What are two or three pressing issues that both artists and academics share?

We all share the problem of the Google search: no matter what I am looking for, once I start searching for images, by page three the algorithm is offering me pictures of Van Gogh’s Sunflowers. If I am looking for a work of art, then surely I must want Sunflowers!

Seriously, I think the most pressing issue we share is that of conservation and preservation. How can the past—or the present—be preserved for the future?

Can you give us a teaser of what you will discuss at Convocation?

Well, last year I gave a talk at the Clark Art Institute in which I said art history can play a different role in twenty-first-century humanities than it did in twentieth-century humanities. I’ve developed these ideas more fully—and I hope I have some interesting things to say to the community of art historians, and the community of artists!

Notes

[1] See Mary Ellen Miller, “A Re-examination of the Mesoamerican Chacmool,” The Art Bulletin 67, no. 1 (March 1985): 7–17.

[2] See Mary Miller, “Shaped Time,” Art Journal 68, no. 4 (Winter 2009): 71–77.




saggesePhoto Credit Maxwell Leung, Ph.D., CCA

The 2017 Annual Conference in New York, taking place February 15­–18, boasts a number of presentations addressing the intersections of race and contemporary art, colonialism in art history, and the Black Lives Matter movement. Here are a few highlights:

Deborah Willis of New York University and Cheryl Finley from Cornell University will provide a historical overview through a session titled “Picturing Social Movements from Emancipation to Black Lives Matter.” Kellie Jones, an art historian at Columbia University and winner of a 2016 MacArthur fellowship, is among the speakers. Public Art Dialogue, one of CAA’s many affiliated societies, will host a discussion on “Public Art in the Era of Black Lives Matter.” The first presenter will be Evie Terrono from Randolph-Macon College in Virginia, who has researched “Symbolic Interventions, New Narratives: Challenging the Authority of the Confederate Flag.”

The session “Race and Labor in the Art Worldwill be chaired by Hayes Peter Mauro of Queensborough Community College, City University of New York. The scheduled speakers—Sarah Cervenak, John Ott, and LaTanya Autry—teach in North Carolina, Virginia, and Connecticut, respectively. Elsewhere, four panelists will offer case studies of race and representation in nineteenth-century art, and another collection of scholars will examine “Blackness, Violence, Representation.” The Arts Council of the African Studies Association, also a CAA affiliated society, has given the tantalizing title of “Flesh” to its session, while another panel will give form to “Post-Black and Liquid Blackness” in contemporary African American art.

Richard Hylton from University for the Creative Arts in England will lead a panel that sheds light on British perspectives regarding “Contemporary Art, Ethnography, and the Western Museum,” while scholars from Italy and South Africa will lead a session called “Writing Art History in the Margins: Rethinking Centers and Peripheries in ‘Non-Western’ Art Historiography.” Finally, the Association for Critical Race Art History, another CAA affiliate, will present “Riff: Black Artists and the European Canon.” Among the artists to be examined are Robert Colescott, Carrie Mae Weems, and Moe Brooker.



Filed under: Annual Conference

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