We are enjoying spring break as much as you are, but we also know that CAA has upcoming deadlines for proposing a session or paper for the 106th Annual Conference in Los Angeles, February 21–24, 2018.
In this video, Hunter O’Hanian, executive director of CAA, and Tiffany Dugan, director of programs, discuss what makes a great Conference proposal. We think your submission should contain clear writing, and your idea should be thoughtful. We want you to be accurate and complete when using the submission portal also.
The Annual Conference Committee, comprised of regional representatives, members of the Board, and CAA members at large, are in search of proposals that reflect the breadth and variety of our discipline and field, and demonstrate the expertise and curiosity of our membership also. Especially welcome are proposals from artists and on subjects in art before 1800.
The deadlines to propose a session or paper for the 2018 Annual Conference in Los Angeles are April 17 and April 24, 2017. Full details are available on the submissions website.
CAA invites nominations and self-nominations for individuals to serve on seven of the twelve juries for the annual Awards for Distinction for three years (2017–20). Terms begin in May 2017; award years are 2018–20. CAA’s twelve awards honor artists, art historians, authors, curators, critics, and teachers whose accomplishments transcend their individual disciplines and contribute to the profession as a whole and to the world at large.
Candidates must possess expertise appropriate to the jury’s work and be current CAA members. They should not hold a position on a CAA committee or editorial board beyond May 31, 2017. CAA’s president and vice president for committees appoint jury members for service.
Jury vacancies for spring 2017:
- Alfred H. Barr Jr. Award: two members
- Artist Award for a Distinguished Body of Work: two members
- CAA/AIC Award for Distinction in Scholarship and Conservation: one member
- Distinguished Feminist Award: two members
- Distinguished Lifetime Achievement Award for Writing on Art: one member
- Distinguished Teaching of Art History Award: one member
- Frank Jewett Mather Award: two members
Nominations and self-nominations should include a brief statement (no more than 150 words) outlining the individual’s qualifications and experience and a CV (an abbreviated CV no more than two pages, may be submitted). Please send all materials by email to Katie Apsey, CAA manager of programs; submissions must be sent as Microsoft Word or Adobe PDF attachments. For questions about jury service and responsibilities, contact Tiffany Dugan, CAA director of programs.
Deadline Extended: May 31, 2017.
posted by CAA — March 14, 2017
CAA extends a warm thank-you to all of the artists, scholars, curators, critics, educators, and other visual-arts professionals who served as Career Services mentors during the 2017 Annual Conference. Your knowledge and expertise helped to enrich the Artists’ Portfolio Review, Career Development Mentoring, and Mock Interviews. We also appreciate the efforts of the members who created and led Professional Development Workshops and Brown Bag Sessions based on members’ needs.
Artist’s Portfolio Review
Susan Canning, Sculpture; Jill Conner, Artists Studios; Carrie Ida Edinger, Independent Artist; Nancy Hart, Artist/263 Gallery; Richard Heipp, University of Florida; David Howarth, Zayed University; Paul Hunter, Artist/Painter; Jason Lahr, University of Notre Dame; Suzanne Lemakis, Citibank, retired; Sharon Lippman, Art Without Walls; Craig Lloyd, Mount St. Joseph University; Yelena McLane, Florida State University; Dinah Ryan, Principia College; Paul Bernard Ryan, Mary Baldwin University, Emeritus; and Greg Shelnutt, Clemson University.
Career Development Mentoring
Susan Altman, Middlesex County College; Michael Aurbach, Vanderbilt University, Emeritus; Roann Barris, Radford University; Colin Blakely, University of Arizona; Leda Cempellin, South Dakota State University; Crista Cloutier, The Working Artist; Rebecca J. DeRoo, Rochester Institute of Technology; James Farmer, Virginia Commonwealth University; Reni Gower, Virginia Commonwealth University; Antoniette (Toni) Guglielmo, Getty Leadership Institute; Dennis Ichiyama, Purdue University; Zach Kaiser, Michigan State University; Ann B. Kim, University East; Carol Herselle Krinsky, New York University; Emmanuel Lemakis, CAA, retired; Jeffery Cote de Luna, Dominican University; Heather McPherson, University of Alabama, Birmingham; Liliana Milkova, Oberlin College; Mark O’Grady, Pratt Institute; Doralynn Pines, CAA; Thomas Post, Ferris State University; Heather Snyder Quinn, DePaul University; Jack Risley, University of Texas at Austin; Andrew Svedlow, University of Northern Colorado; Joe A. Thomas, Kennesaw State University; Ann Tsubota, Raritan Valley Community College; and Barbara Yontz, St. Thomas Aquinas College.
Mock Interview Sessions
Megan Koza Mitchell (Student and Emerging Professionals Committee Chair), Prospect New Orleans; Amanda Wainwright (Student and Emerging Professionals Committee), University of South Carolina; Tamryn Mcdermott, Temple University; Annie Storr, Brandeis University; Lauren Puzier, Sotheby’s; Abbey Hepner, University of Colorado; Rachel Kreiter, Spelman College; Nathan Manuel (Student and Emerging Professionals Committee); Lauren O’Neal, Lamont Gallery, Phillips Exeter Academy; DeWitt Godfrey, Colgate University; Dennis Ichiyama, Purdue University; Rachel Stephens, University of Alabama; Matt King, VCU School of the Arts; Carol Garmon, University of Mary, Washington; Craig Lloyd, Mount St. Joseph University; Maile S. Hutterer, University of Oregon; Mark O’Grady, Pratt Institute; Thomas Post, Kendall College of Art and Design; Greg Shelnutt, Clemson University; Maria Ann Conelli, Brooklyn College, City University of New York; Rebekah Beaulieu, Bowdoin College Museum of Art ; David LaPalombara, Ohio University; Arthur Blake Pierce, Valdosta State University; Michael Lobel, Hunter College; Susan Altman, Middlesex County College; David Howarth, Zayed University; and Colin Blakely, University of Arizona.
Brown Bag Lunches and Sessions
Megan Koza Mitchell (Student and Emerging Professionals Committee Chair), Prospect New Orleans; Amanda Wainwright (Student and Emerging Professionals Committee), University of South Carolina; Tamryn Mcdermott, Temple University; Annie Storr, Brandeis University; Lauren Puzier, Sotheby’s; Abbey Hepner, University of Colorado; Rachel Kreiter, Spelman College; Nathan Manuel, SEPC; Andrea Kirsch, Rutgers University; and Mattie M. Schloetzer, National Gallery of Art.
Professional Development Workshops
Maria Michails, Rensselaer Polytechnic Institute; Susana Sevilla Aho, Modern Language Association; Susan Altman, Middlesex County College; Michael Aurbach, Vanderbilt University, Emeritus; Emily Pugh, Getty Research Institute; Elizabeth Buhe, Institute of Fine Arts, New York University; Petra ten–Doesschate Chu, Seton Hall University; Kate Kramer, University of Pennsylvania; Shannon Connelly, Lebanese American University; Craig Dietrich, The Claremont Colleges; Jon Ippolito, University of Maine; John Bell, Dartmouth College; Molly Fox, Indiana University; Rebekah Beaulieu, Bowdoin College Museum of Art; Deborah Lutz, Pamela Lawton, Annie Leist, and Emilie Gossiaux, all from the Metropolitan Museum of Art; Alexa Sand, Utah State University; Sara Orel, Truman State University; Jenn Karson, University of Vermont FabLab; Martha Schwendener, New York Times/New York University; Jack Henrie Fisher, University of Illinois, Chicago; and Alan Smart, University of Illinois, Chicago.
posted by Suzanne Preston Blier, President, the College Art Associatio — February 24, 2017
Art Matters. Art has always mattered. Whether we are art scholars or artists, critics or designers, gallery goers or museum professionals, art matters to all of us a great deal. Equally importantly, art matters – critically – to the societies in which we live and work. Fifty years ago this week (February 14,1967) as Aretha Franklin recorded her soon to become hit song, Respect, and Martin Luther King, Jr. prepared to denounce the Vietnam War in an April 4th New York city religious service, Faith Ringgold was creating her celebrated Black Light series, addressing the impact of race riots and other issues of the era. More recently, in 1990 when South African Apartheid finally ended, and Nelson Mandela and other political prisoners were released from incarceration, the important work of South African artists – black and white, men and women –in bringing inequality and racism into public view began to be broadly acknowledged. Within the last few weeks, the Museum of Modern Art began a project to rehang works by artists from majority-Muslim nations facing travel bans to this country. Art matters.
As the one hundred and fifth College Art Association’s Annual Conference gets underway, it is imperative that we reflect on these and related art issues, on the close connections between art making and activism and the vital roles that artists, art scholars and other professionals play in tackling critical issues of the day, whether it be war, racism, sexism, or other forms of discrimination and ethical derogation. Art Matters. It serves as a vital site not only of engagement and resistance, advocacy and education, problem solving and invention, but also as a vital means of opening up and re-envisioning the world around us. Art matters to us both as individuals and as part of the societies in which we live and work. In an era of increasing attacks not only on the humanities, social sciences, and sciences, but also on the arts, the importance of CAA as the leading organization that brings together practitioners and scholars within the same broad umbrella is all the more important. CAA offers a unique platform to reengage at the local, national, and international level. The so-called STEM fields (science, technology, engineering and math) are important, but they do not overshadow the arts and humanities. Indeed, throughout history, each has often enhanced the other.
Arts Matter. Yet I have a confession: there was a key moment in my life when I did not feel this. It was the summer after my Freshman year in college at the University of Vermont. I was working in the Senate when one bleak morning I found myself in tears standing in Dupont Circle watching as Bobby Kennedy’s body arrived here in the hearse after his assassination. Martin Luther King Jr. had been shot a few months earlier. I returned to college that Fall but concluded soon after that art history and studio art were simply not enough. I quit college at the end of that year to join the Peace Corps. It was here, in Africa, where I first realized politics and art were integrally co-joined. Every book I read on African art was worse than the last. The field needed a correction, art history needed a correction, and after my two-year term ended, I returned home to finish my degree and make plans to attend graduate school with a focus on African art.
CAA then, as today, was a big deal. Elation and genuine fear were my initial emotions when my first CAA paper proposal was accepted– on a politically fraught panel addressing Semiotics and Art chaired by Henri Zerner. Much later we would become colleagues. These kinds of connections are part of what makes CAA so important. For me, a timely Art Bulletin article no doubt helped with tenure. But well before then I felt it was important to engage more formally with CAA – as much for African Art as anything else. It was for that reason that I ran for the CAA Board of Directors – and years later ran a second time. When I was a graduate student, many still believed that Africa had no arts outside of Egypt, and Egypt itself was part of a strange exo-African nether world somewhere between Mesopotamia and Greece. African art, if it was considered art at all, was assumed to be primitive. CAA for me was where the real political work began, through CAA board connections, I and others persuaded the editor at Abrams to drop the “Primitive Art” chapter from Janson’s best-selling History of Art textbook. In due course, African and African diaspora arts, and those who made and studied them, began reshaping not only art departments around the country, but also exhibitions, major journals, book publications and key prizes within CAA and other organizations. It was CAA that played a central and ongoing role in this.
What had begun for me at CAA as an engagement about my field, soon blossomed into other issues – open access to museum collections in publishing for example. When I was a board member initially, one of our group began to work with the Metropolitan Museum to make their art photographs accessible on the web. This effort continued and on February 7th, one week ago, the Metropolitan announced that all images of public-domain works in the Met collection will now be available under Creative Commons. This is a huge step forward that will benefit us all. So too has been CAA’s path-forging efforts on Fair Use one of our most important and indeed revolutionary undertakings, for which I and others already are seeing considerable savings in terms of finances and time.
Art Matters. CAA members working together have achieved important ends. But we can and must do more. Art access inequality is not the only issue to attend to. Access to quality higher education is a vital concern for both us and our students, as are questions of student loan fees and affordability, along with the ability of professionals in our field to gain a viable living and secure employment in educational and art-linked institutions. I benefitted from my undergraduate training at a then inexpensive public university; my graduate school education would not have been possible without affordable student loans. I could not have written my Ph.D. without a government funded Fulbright fellowship. For me and many others, book projects would not have been completed without an NEH grant or others at tax supported institutions such as CASVA, the Clark, and the Getty. Museum exhibitions funded by both NEA and NEH are critical to what we do, and these same museums bring in billions of dollars in revenue to local cities and towns.
Art matters. And this is where CAA is critical as an organization, focusing with a new sense of urgency not only on the longstanding programs where we have excelled but also speaking out on core issues that are important to all of us – such as diversity, equal access, and sustainability. Social Activism is a key part of CAA’s Strategic Plan now. As we move forward, changes in CAA that are already underway and will become more evident shortly will help make our organization even stronger and more engaged – from the reenergized annual conference, to a far more dynamic web presence, from larger roles for our affiliated societies, to added benefits that will help members in their professional and personal loves. Art Matters. It matters to us. It matters to the communities and broader societies in which we live and work.
Suzanne Preston Blier
Thank you everyone who made this 2017 Annual Conference in New York a lively and vibrant event. The CAA staff, board, and myCAA helpers spoke with as many attendees as we could and attended as many sessions as we could. From what we heard at the conference, through official feedback channels and informal hallway conversations, people had a good time and learned. Attendees felt challenged and invigorated by the discussions. That is all we can ask. We received positive responses to our themes of inclusion, problem solving, and feedback. The shortened ninety-minute sessions were welcomed and attendees shared that the addition of more sessions on diversity and current politics gave the conference a much-needed vitality. For our attendees, we hope that myCAA collectively felt like ourCAA.
We look forward to carrying this energy and momentum into the 2018 Annual Conference in Los Angeles, February 21-24, 2018.
There will be many, many more images to come in the next few weeks. But here are a few that we wanted to share right away.
CAA will present six 2017 Annual Conference sessions and events via live stream. The sessions will be streamed via CAA’s YouTube Channel. There is no charge to watch these sessions—they are free and open to the public.
Here is the schedule:
- Wednesday, February 15, 5:30–7:00 PM: Convocation, the Awards for Distinction presentations, and Mary Miller’s keynote address
- Thursday, February 16, 10:30 AM–noon: Public Art in the Era of Black Lives Matter
- Thursday, February 16, 12:15–1:30 PM: Key Conversations: Art Criticism
- Thursday, February 16, 5:30–7:00 PM: the Distinguished Scholar Session honoring Kaja Silverman
- Friday, February 17, 3:30–5:30 PM: Artist Interviews: Coco Fusco with Steven Nelson and Katherine Bradford with Judith Bernstein
- Saturday, February 18, 12:15–1:15 PM: Key Conversations: Hrag Vartanian with Amin Husain and Nitasha Dhillon of Decolonize This Place
Use the hashtags #caa2017 and #myCAA during the entire conference week!
A message from CAA Executive Director Hunter O’Hanian about the 2017 Annual Conference
I am very much looking forward to my first Annual Conference as CAA’s new Executive Director. I think the Annual Conference Committee has done a great job presenting an amazing lineup of sessions and the CAA staff has worked hard to make sure that this will be one of the best conferences ever. Many thanks to Tiffany Dugan, Paul Skiff, Katie Apsey and the rest of the Annual Conference staff who have put in so many hours.
But we also need your help at the Annual Conference.
I’d like every attendee to think about three central ideas which will make the experience more rewarding for you and your fellow attendees.
Create an atmosphere of Inclusion – We’ve heard from past participants that they have not always felt welcome by other CAA members. Some have said that they felt marginalized due to their age, experience, or even the color of their skin. Others have said they felt somewhat judged by other CAA members based solely upon what is printed on their name badge.
Obviously we do not want any CAA member to feel this way. While the CAA staff and board will work to make everyone feel welcome and included, we ask they you do the same. Extend your hand and say hello to a stranger. Say hi to the person sitting next to you at a session. Chat with someone new in the elevator or in a coffee line. Together, we can work to make all of our members feel included.
We want to solve your problems – This year there will be more than 4,000 people in attendance at the conference. In essence, we will be creating a small town at the New York Hilton Midtown for the week. Inevitably, problems will crop up – and we want to solve them.
If you find you are having problems with membership, registration, locating information, please look for one of the CAA staff members wearing the “Ask Me!” button. They will try to quickly understand the issue and get you to someone who can resolve it as soon as possible. We are here to help and that’s what we intend to do!
We want your feedback – Building a CAA for the 21st century is the most important work ahead of us. We cannot do that without hearing what you need to help you in your respective professional fields. We need to hear from you. If you completed the recent survey, many thanks. Those results will be processed shortly.
The field and the organization is changing rapidly and we cannot strengthen it properly without hearing what you need and want. We encourage you to vote in the election for the new board of directors, either on the CAA website or on the CAA Annual Conference App. We encourage you to attend the myCAA session on Friday, February 17, 2017 at 12:15PM. If you cannot attend the session, email us noting a few things that you appreciate about CAA and a few things you would like to see improved. Or leave your comments on CAA Connect in the myCAA Discussion Community. What are the current benefits you value and what benefits would you like to see us add in the future?
Many thanks for taking the time to think about these key messages and I look forward to seeing you at the Annual Conference.
Executive Director and Chief Executive Officer
Like many around the world, CAA is concerned with the direction the current US government has taken with regard to international travel in and out of the United States. We view this as having a potentially chilling effect on artistic and academic freedoms. CAA has taken a stand in strong opposition to the current executive order.
However, we would like to do more if we can. If you are planning to attend the 2017 Annual Conference from another county and have been impacted by the travel ban we ask that you contact us immediately. Email our membership department or call 212-691-1051, ext. 1. We will endeavor to assist you in any way we can.
You may also use this Google Form to submit a query if you have been impacted by the immigration ban.
posted by admin — January 27, 2017
Artifex Press, a publisher of digital catalogues raisonnés, is proud to launch their subscription service in February 2017. Currently available are catalogues raisonnes for Chuck Close, Jim Dine, and Tim Hawkinson; and in February 2017 they will release Agnes Martin and James Siena; later in 2017 they will publish Sol LeWitt and Lucas Samaras. Sign up for an introductory webinar about their platform, including a presentation by Tiffany Bell, Editor of their Agnes Martin Paintings catalogue and co-curator of the traveling 2015 – 2017 Agnes Martin Retrospective, which began at the Tate and just closed at the Solomon R. Guggenheim Museum.
Don’t forget to also visit their booth (#1111) at the 2017 CAA Conference!
The myCAA Post-it Wall, located near registration on the Hilton’s second floor, is where attendees can post their notes, scribbles, messages, heartfelt missives, and anything else they feel like sharing on a myCAA Post-it. The myCAA Post-it pads will be easy to find and pick up around the conference. Get yours at CAA’s booth in the Book and Trade Fair, in the registration booth, or at the hospitality booth.