posted by Christopher Howard — November 28, 2016
This fall, CAA awarded grants to the publishers of seven books in art history and visual culture through the Millard Meiss Publication Fund. Thanks to the generous bequest of the late Prof. Millard Meiss, CAA gives these grants to support the publication of scholarly books in art history and related fields.
The seven Meiss grantees for fall 2016 are:
- Rebecca Brown, Displaying Time: The Many Temporalities of the Festival of India, University of Washington Press
- Richard Emmerson, Apocalypse Illuminated: The Visual Exegesis of Revelation in Medieval Illustrated Manuscripts, Pennsylvania State University Press
- Michele Greet, Transatlantic Encounters: Latin American Artists in Paris between the Wars, Yale University Press
- Sharon Hecker, A Moment’s Monument: Medardo Rosso and the International Origins of Modern Sculpture, University of California Press
- Katie Hornstein, Picturing War in France, 1792–1856, Yale University Press
- Amy Neff, A Soul’s Journey into God: Art, Theology, and Devotion in a Franciscan Manuscript of the Late Duecento, Pontifical Institute of Mediaeval Studies
- Hsueh-man Shen, Authentic Replicas: Buddhist Art in Medieval China, University of Hawai‘i Press
Books eligible for Meiss grants must already be under contract with a publisher and on a subject in the visual arts or art history. Authors and presses must be current CAA members. Please review the application guidelines for more information.
posted by CAA — November 28, 2016
CAA is excited to present talks by the following special guests at the 105th Annual Conference, taking place February 15–18, 2017, in New York.
This year Mary Miller, a scholar of art of the ancient New World, Sterling Professor of History of Art, and senior director of the Institute for the Preservation of Cultural Heritage at Yale University, will deliver the keynote address during Convocation.
This special event, to be held on the first evening of the Annual Conference, includes a welcome from Suzanne Preston Blier, CAA president, and Hunter O’Hanian, CAA executive director, as well as the presentation of annual Awards for Distinction.
Convocation is free and open to the public.
Distinguished Artist Interviews
Organized by CAA’s Services to Artists Committee, the Distinguished Artist Interviews feature esteemed artists who discuss their work with a respected colleague. The interviews are held as part of ARTspace, a program partially funded by a generous grant from the National Endowment for the Arts.
First, the artist and activist Coco Fusco will be in conversation with the art historian Steven Nelson of the University of California, Los Angeles. Next, the painter Katherine Bradford will speak with a fellow artist, Judith Bernstein.
The Distinguished Artist Interviews are free and open to the public.
Kaja Silverman, a historian of art and film, critical theorist, and Katherine and Keith L. Sachs Professor of Art History at the University of Pennsylvania, will be recognized as CAA’s Distinguished Scholar for 2017 in this special session.
In addition to remarks from Silverman, the panel will feature talks from Richard Meyer, Robert and Ruth Halperin Professor in Art History at Stanford University, and Homay King, Professor of History of Art at Bryn Mawr College.
Please join the speakers for a reception immediately following the session in the Third Floor East Promenade. A cash bar will be available.
Conference registration is required to attend the Distinguished Scholar Session.
The thirty-fourth World Congress of Art History, organized by the Comité International d’Histoire de l’Art (CIHA), will take place in Beijing, China, from September 15 to 22, 2016. Art and cultural historians from all over the world, and from a vast cross-section of disciplines and fields of professional interest, will discuss the ways of seeing, describing, analyzing, and classifying works of art. As the American affiliate to CIHA, the National Committee for the History of Art (NCHA), a group with strong institutional ties to CAA, is happy to encourage any and all interested art historians to attend.
The congress’s theme is “Terms.” Topics are divided into twenty-one sections to enable comparisons among different interpretations, definitions, and methods within art history. Each panel will comprise a program reflecting CIHA’s commitment to the idea of diversity, which should allow talks on different genres, epochs, and countries to be brought together. The congress uses the word “Terms” to draw a wide range of case studies.
The theme for the Beijing 2016 is the logical counterpart to the previous rubric, “The Challenge of the Object,” which was addressed at the Nuremberg 2012 CIHA Congress in Germany. In Beijing, it is a matter of questioning the words, the definitions, and the very concepts used to study art by different scientific traditions with this essential question: How can the methodology of our discipline be enriched by being conscious of the diversity of terms and approaches to art?
The 2016 congress will analyze different concepts of art in diverse cultures and strive to achieve three goals. The first one is to respond to the latest development of art history as a global discipline. The second is to explore art through different terms that underline its relationship to respective cultural frameworks, and the disparities between different cultures in various periods throughout history. The third goal is to gain a more comprehensive understanding of art as an essential part of human culture.
CIHA traces its roots back to the 1930s, when it was officially founded at the Brussels Congress. The organization has now vastly exceeded its original Euro-American emphasis and currently has national chapters on every continent. Next month’s meeting will be the organization’s first conference in China. In addition to the international gathering held every four years, CIHA also sponsors specific thematic art-history conferences such as “New Worlds: Frontiers, Inclusion, Utopias” in Rio de Janeiro, Brazil, which took place in August 2015.
A grotesquely anthropomorphic hound standing on powerful back legs and blowing a stylized trumpet graces the cover of the June 2016 issue of The Art Bulletin. The etching is one of two dozen similar works by the early seventeenth-century artist Christopher Jamnitzer that Madeleine C. Viljoen explores in relation to early modern cosmography. The June issue also presents the first publication of an extraordinary eleventh-century enamel cup from a nomad’s grave in Ukraine, which Warren T. Woodfin examines in the context of other Middle Byzantine works with secular imagery. In addition, the issue features essays by David Young Kim on the multiple functions served by the carpets in Lorenzo Lotto’s paintings, and by Jean H. Duffy on issues of genre and perception in Jean Dubuffet’s mixed-genre spectacle Coucou Bazar. Shao Yiyang’s “Whither Art History?” essay reflects on the flourishing of art history in contemporary China.
The reviews section, with a theme of “Cosmopolitan Art Worlds,” includes six reviews of recent books on art in Renaissance Italy, late nineteenth-century Shanghai, turn-of-the-century Paris, modern India, contemporary Brazil and Japan, and twentieth-century Nigeria.
CAA sends print copies of The Art Bulletin to all institutional members and to those individuals who choose to receive the journal as a benefit of membership. The digital version at Taylor & Francis Online is currently available to all CAA individual members regardless of their subscription choice.
In the next issue of the quarterly journal, to be published in September, essays will consider Kongo visual and cultural practices in contemporary art, twelfth-century Chinese paintings of Buddhist rituals, the nineteenth-century perception of Watteau’s Pierrot character as forlorn, a brush-and-ink painting collectively created in the early People’s Republic of China, and intersections of global politics and imaging in the site-specific art of Walter De Maria. Four reviews will be presented under the rubric “Urban Images, Memories, and Fragments.”
posted by Christopher Howard — June 01, 2016
This spring, CAA awarded grants to the publishers of six books in art history and visual culture through the Millard Meiss Publication Fund. Thanks to the generous bequest of the late Prof. Millard Meiss, CAA gives these grants to support the publication of scholarly books in art history and related fields.
The six Meiss grantees for spring 2016 are:
- Joanna Grabski, Art World City: The Creative Economy of Artists and Urban Life in Dakar, Indiana University Press
- Shelley Drake Hawks, Painting by Candlelight: The Art of Resistance in Mao’s China, University of Washington Press
- Miya Mizuta Lippit, Aesthetic Life: The Artistic Discourse of Beauty in Modern Japan, Harvard University Press
- Leora Maltz-Leca, William Kentridge: Process as Metaphor and Other Doubtful Enterprises, University of California Press
- Heather McPherson, Art and Celebrity in the Age of Reynolds and Siddons, Pennsylvania State University Press
- Amanda Wunder, Sacred Art and Society in Seventeenth-Century Seville, Pennsylvania State University Press
Books eligible for Meiss grants must already be under contract with a publisher and on a subject in the visual arts or art history. Authors and presses must be current CAA members. Please review the application guidelines for more information.
Smarthistory seeks to bring the expertise of individual scholars and curators to a new global audience. Smarthistory is now an independent not-for-profit organization and a leading resource for teaching and learning art history (Smarthistory received 13.5 million pageviews from more than 190 countries in 2015 alone). All content on Smarthistory is available for free and without advertising. Thanks in part to a grant from the Andrew W. Mellon Foundation, in the last 15 months Smarthistory published 230 essays and videos with an emphasis on global content including the art of Africa, the Americas, Asia, and the Pacific Islands. Read more about Smarthistory here.
If you are interested in sharing your expertise in the form of short introductory essays, Smarthistory could really use your help. The website’s founders, Steven Zucker and Beth Harris, seek art historians, archaeologists, and conservators in many areas of study; they have a particular need for specialists in African, Asian, Native American, and Oceanic art.
Smarthistory uses Trello, an interactive list of essay topics chosen to support introductory art history courses. If you are interested in contributing, send an email to Zucker and Harris and please include your CV (firstname.lastname@example.org and email@example.com). If everything is in order, you will be added to the Trello Board, so that you can claim a topic in your area of specialization. If there is a topic that you feel should be added to Trello, please let Zucker and Harris know.
posted by Janet Landay, Program Manager, Fair Use Initiative — November 17, 2015
CAA is pleased to announce the 2016 recipients of travel support through the CAA-Getty International Program. In an effort to promote greater interaction and exchange among art historians internationally, CAA will bring scholars from around the world to participate in the program, to be held during CAA’s 104th Annual Conference in Washington, DC, from February 3 to 6, 2016. This is the fifth year of the program, which has been generously funded by the Getty Foundation since its inception. The participants—professors of art history, curators, and artists who teach art history—were selected by a jury of CAA members from a highly competitive group of applicants. In addition to covering travel expenses, hotel accommodations, and per diems, the CAA-Getty International Program includes support for a preconference on international issues in art history, conference registration, and a one-year CAA membership.
Activities for participants in the CAA-Getty International Program will begin with a one-day preconference colloquium on international issues in art history, during which they will meet with North-American–based CAA members to discuss common interests and challenges. Participants will also be assisted throughout the conference by CAA member hosts, who will recommend relevant panel sessions and introduce them to colleagues who share their interests. Members of CAA’s International Committee have agreed to serve as hosts, along with representatives from several affiliated societies of CAA, including the Arts Council of the African Studies Association, the Association for Latin American Art, and the Society of Historians of East European, Eurasia, and Russian Art and Architecture.
This program has increased international participation in CAA’s activities and expanded international networking and the exchange of ideas during and after the conference. The CAA-Getty International Program supplements CAA’s regular program of Annual Conference Travel Grants for graduate students and international artists and scholars. CAA looks forward to welcoming the 2016 recipients at the upcoming Annual Conference in Washington, DC, this February.
2016 CAA-Getty International Program Participants
Sarena Abdullah is a senior lecturer in the School of the Arts at the Universiti Sains Malaysia in Penang, where she teaches art history to undergraduate and graduate students. She received an MA in art history from the University at Buffalo, State University of New York, and a PhD in art history from the University of Sydney in Australia. Specializing in contemporary Malaysian and Southeast Asian art, Abdullah is widely published locally and abroad and has presented papers at conferences in Malaysia, Singapore, Australia, and the United States. She is a field leader for Ambitious Alignments: New Histories of Southeast Asian Art, a research project led by the Power Institute Foundation for Art and Culture at the University of Sydney and funded by the Getty Foundation. With two research grants from the Universiti Sains Malaysia, Abdullah is working on a project called “Theorizing Early Modernism and Cosmopolitanism in Early Twentieth Century Penang by Examining Modern Artistic Works and Print Medium Pertaining to Penang (1826–1942).”
Abiodun Akande studied fine arts at Obafemi Awolowo University in Ile Ife, Nigeria, and received an MA and PhD from the Institute of African Studies at the University of Ibadan, also in Nigeria. His dissertation on “Yoruba Traditional Religious Wood-Carvings in Oyo, Sabe, and Ife” reflects his broader interest in the diffusion history of Yoruba peoples and their material culture across national boundaries. Akande is also interested in recording the effects of diffusion on sociocultural and artistic productivity and the resultant identities and iconologies of this culture group. Akande teaches art history, museology, art education, and painting at the Emmanuel Alayande College of Education in Oyo. In 2013, he participated in the first Basel Summer School in African Studies at the University of Basel in Switzerland; he also attended a graduate symposium hosted by the School of Arts at Peking University in Beijing, China.
María Isabel Baldasarre holds a PhD in art history from the Universidad de Buenos Aires in Argentina, having earned an undergraduate degree in art history from the same university and a National Professor of Sculpture degree from the Escuela Nacional de Bellas Artes Prilidiano Pueyrredón. Baldasarre is currently a researcher at the Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET), an associate professor and coordinator of the master’s degree program in Argentinean and Latin American art history at the Universidad Nacional de San Martín, and a member of the board of the Centro Argentino de Investigadores de Arte. Baldasarre has received scholarships and grants from CONICET, the Antorchas Foundation, the Latin American Studies Association, the Getty Foundation, the Institut National d’Histoire de l’Art, and the Kunsthistorisches Institut in Florenz. A specialist in late-nineteenth- and early-twentieth-century European and Argentinean art, art collecting, and the art market, Baldasarre is the author of Los dueños del arte. Coleccionismo y consumo cultural en Buenos Aires (Buenos Aires: Edhasa, 2006).
Danielle Becker is an adjunct lecturer in the Department of Visual Arts at Stellenbosch University in Stellenbosch, South Africa, and the Michaelis School of Fine Art at the University of Cape Town. She was previously the head of visual studies at the Stellenbosch Academy of Design and Photography. Her PhD research, in progress at the University of Cape Town, examines how South African art history is framed in art-historical curricula at tertiary institutions, in art-historical writing, and in museum displays. Becker’s interests include art historiography, postcolonial theory, and the framing of African art. Before beginning her doctoral research, she completed a fine-arts degree at Cape Town, worked as the arts coordinator for a nonprofit called South African Education and Environment Project, and completed a master’s degree in art history at the University of Manchester in England. Her forthcoming publications include a book chapter on Instagram in Africa’s Media Image in the Twenty-First Century: From the Heart of Darkness to Africa Rising (forthcoming from Routledge) and an essay, “Locating the Label on the Luggage: Towards a Continued Decolonization of South African Visual Culture.” (forthcoming from Third Text: Critical Perspectives on Contemporary Art and Culture.)
Bùi Thị Thanh Mai is a lecturer in art history, theory, and criticism at the Vietnam University of Fine Arts in Hanoi. She is also head of the university’s Department of Academic Research Management and International Relations and a member of the editorial board for the university’s journal, Art Research Magazine. Bùi specializes in the history of Vietnamese art, with a focus on modern and contemporary art; she is also interested in art theory, art education, and curatorial theory and practice. Bùi is working on three concurrent projects: “Optimistic Characterization in Painting in Hanoi in 1945–1990” within the framework of the Ambitious Alignments: New Histories of Southeast Asian Art program; “Art Theory and Criticism in Vietnam: Actual Situations and Solutions of the Effect on the Artistic Life”; and a textbook on Vietnamese art history for the Vietnam University of Fine Arts.
Heloisa Espada received a PhD in art history and art criticism from the School of Communications and Arts at the University of São Paulo in Brazil in 2011. She studies Brazilian art after World War II, with a special focus on geometric abstraction and photography. In 2014 Espada began postdoctoral studies at her university’s Museum of Contemporary Art, where she is researching the origins of Concrete art in the city, supported by a grant from the Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, a Brazilian government agency. Espada wrote Hércules Barsotti (São Paulo: Folha de São Paulo, 2013), Geraldo de Barros e a fotografia (São Paulo: Instituto Moreira Salles and Edições SESC, 2014), and Monumentalidade e sombra: o centro cívico de Brasília por Marcel Gautherot (forthcoming from Annablume). Since 2008, she has been the head of visual arts at the Instituto Moreira Salles, where she is also researcher and curator.
Ildikó Gericsné Fehér received an MA and PhD in art history from Eötvös Loránd University in Budapest, Hungary. As associate professor in the Department of Art History of the Hungarian University of Fine Arts in Budapest, she lectures and leads seminars on Renaissance and Baroque art. She is also a consultant to the university’s Conservation Department. Fehér’s research interests include detached wall paintings from medieval and Renaissance Italy in the collection of the Museum of Fine Arts Budapest; Florentine art dealers at the end of the nineteenth century; Károly Pulszky’s purchases of paintings in Italy for the museum circa 1890; wall paintings in Umbria from the fourteenth to sixteenth century; self-portraits by Hungarian artists in the Uffizi Gallery; and the works of Jacopo Palma il Giovane.
Peyvand Firouzeh specializes in the art and architecture of the Islamic world, with a focus on Iran, Central Asia, and India in the medieval period. She is particularly interested in interconnections between architecture and power, patronage of art and architecture, cross-cultural exchanges between Iran and India, and museum studies. Firouzeh obtained her BA (2004) and MA (2007) in architecture from the Tehran University of Art in Iran and her MPhil (2011) and PhD (2015) in the history of art and architecture and Asian and Middle Eastern studies from the University of Cambridge in England. She was the acting curator of Islamic collections from Iran, Central Asia, and India at the British Museum in London in 2014–15. Firouzeh is currently a fellow of art histories and aesthetic practices (2015–16) at the Forum Transregionale Studien and Museum für Islamische Kunst in Berlin, where she is working on a new project, “Depicted Legitimacy: Sufi-Sultan Encounters in the Visual and Textual Cultures of South Asia.”
Lev Maciel graduated from the Medieval Studies Department at Lomonosov Moscow State University in Russia in 1998, with an M.A. thesis on fifteenth-century Spanish history. His dissertation on eighteenth-century Siberian architecture earned him a PhD in 2004 from the State Institute for Art History in Moscow. Currently Maciel is an associate professor in the Faculty of Humanities of the National Research University Higher School of Economics in Moscow, where he supervises the recently created program in art history. He is also a part-time research associate professor at the Institute for Theory and History of Architecture and Town Planning in Moscow. Maciel’s research interests include a wide range of subjects within the history of architecture, including the late Renaissance and Baroque (Russia, southern Italy, Brittany, Spain, and Latin America), late antiquity and Byzantium, the Islamic world, Mongolia and Tibet, and nonmodernist movements in the twentieth century.
Emmanuel Moutafov is a Byzantinist, art historian, and epigrapher who holds a PhD in world history of the fifteenth to nineteenth centuries from the Institute for Balkan Studies at the Bulgarian Academy of Sciences in Sofia. He has been a visiting research fellow at the Program in Hellenic Studies at Princeton University; a Mellon Foundation fellow at the Institute for Advanced Studies in Berlin; a Mellon Foundation fellow at the W. F. Albright Institute of Archaeological Research in Jerusalem; and a Getty Foundation research fellow in the summer research group Visions of Byzantium in Istanbul, Turkey. In 2013 he became a supervisor of research at the board of directors of the Institute for Art Studies at the Bulgarian Academy of Sciences and last year was appointed a director of the same institute.
Ceren Özpınar is a lecturer and a scholar of art historiography and the history of art whose research covers feminist temporalities in art historiography and contemporary art in Turkey. She is currently a British Academy Newton International Fellow in the Department of Art History at the University of Sussex (2015-17). Özpınar received a PhD in the history of art from Istanbul Technical University in 2015, with a thesis on the historiography of contemporary art in Turkey. In 2013, she held a one-year position of visiting research fellow at the University of Leeds, for which she was awarded a doctoral research grant by the Scientific and Technological Research Council of Turkey. She is among the authors of National Art Histories in an Unfinished World (forthcoming from McGill-Queen’s University Press). Özpınar teaches undergraduate and graduate courses in art history, art management, and visual culture.
Horacio Ramos is a Peruvian art historian who specializes in Latin American vanguardism and neovanguardism. He teaches at the Pontificia Universidad Católica del Perú in Lima and also works as researcher at Museo de Arte de Lima. Ramos holds a BA in philosophy and an MA in art history from the Universidad Católica. In previous research, he explored the reform of Lima’s main square (or Plaza de Armas) during the first half of the twentieth century, a complex process that involved debates about nationalism, architectural heritage, and modernism. Currently he is focusing on how invasiones (precarious urban settlements at the periphery of Peruvian cities) have been represented in documentary photography and neovanguardist art of the later twentieth century. Since invasiones and abandoned archeological ruins share the deserted landscape of the coast, his investigation seeks to trace the complex interconnections between art, archeology, landscape, and social exclusion.
Olaya Sanfuentes Echeverría earned a bachelor’s degree in history from the Pontificia Universidad Católica de Chile in Santiago, a master of arts from Georgetown University in Washington, DC, and a PhD in art history from the Universitat Autònoma de Barcelona in Spain. She is a professor at the Institute of History, a part of the Department of History, Geography, and Political Science at the Pontificia Universidad Católica de Chile. Sanfuentes’s current research focuses on devotional practices involving art, especially religious statues used in festivals and rites in honor of the saints and virgins in Andean communities, as well as similar practices related to nativity cribs. More generally, Sanfuentes is interested in practices surrounding visual representations, history, and material culture, and how communities deal with cultural heritage.
Paulo Silveira holds bachelor’s degrees in fine arts (with qualifications in drawing and painting) and in communication studies from the Universidade Federal do Rio Grande do Sul in Porto Alegre, Brazil. He earned an MA and PhD in visual arts, with an emphasis in art history, theory, and criticism, from the same university. His graduate studies included doctoral research in France at the Université Paris 1 Panthéon-Sorbonne. Silveira is a professor of art history at the Instituto de Artes at the Universidade Federal do Rio Grande do Sul. His research interests include visual arts, with a focus on the formal and contextual study of the artistic process, the intellectual and artistic foundations of contemporary art, intermedia, perception of works of art, aesthetics, rhetoric of artist’s publications, and methodology. Silveira is a member of the Brazilian Committee of Art History and the National Association of Researchers in Fine Arts (serving on its committee for history, theory, and criticism).
Sandra Uskoković is an assistant professor in the Department of Arts and Restoration at the University of Dubrovnik in Dubrovnik, Croatia. Her primary areas of research include architectural theory, modern architecture, urban culture, performance art, and cultural studies and heritage. She received an MA in architectural history and heritage preservation from George Washington University in Washington, DC, and a PhD in historic preservation and architectural history from the University of Zagreb. During 2002–3 Uskoković served as an intern at the International Centre for the Study of the Preservation and Restoration of Cultural Property in Rome, Italy, and at the International Committee on Monuments and Sites (US/ICOMOS) in Washington, DC. She is a member of the ICOMOS Scientific Committee on Twentieth-Century Heritage and has participated in conferences on international preservation. Uskoković is the author of three books: Modern Architectural Heritage of Dubrovnik (Zagreb: Antibarbarus, 2010), Contemporary Design in Historic Settings (Zagreb: Antibarbarus, 2013), and Architect Lovro Perković: Sensibility of Space Design (Zagreb: Ex Libris, 2015). She also has published numerous articles in academic and artistic journals. Since 2015 she has coordinated a regional interdisciplinary forum for research in urban culture in the Balkans, called Urban Hum.
For more information about the CAA-Getty International Program, please contact project director Janet Landay at firstname.lastname@example.org or 212-392-4420.
Richard J. Powell, John Spencer Bassett Professor of Art and Art History at Duke University in Durham, North Carolina, where he has taught since 1989, has been named CAA’s 2016 Distinguished Scholar. A specialist in American art, African American art, and theories of race and representation, Powell will be honored in February during a special session at CAA’s upcoming Annual Conference in Washington, DC.
Powell was chair of the school’s Department of Art, Art History, and Visual Studies from 1996 to 2001. He currently is dean of the humanities for the Trinity College of Arts and Sciences at Duke. In 2013, the Smithsonian Institution’s Archives of American Art bestowed the Lawrence A. Fleischman Award for Scholarly Excellence upon Powell for his contributions to the field of American art history.
Powell earned a PhD in art history at Yale University in 1988, after receiving an MA in Afro-American studies in 1982 from the same school. He was awarded Yale’s Wilbur Cross Medal for Distinguished Alumni in 2009; three years later he received the James A. Porter Award for Excellence in African American Art Scholarship from Howard University, where he earned an MFA in printmaking in 1977. Other notable grants, fellowships, and residencies came from the Voyager Foundation, the National Humanities Center, the National Endowment for the Humanities, and the W. E. B. Du Bois Institute for Afro-American Research at Harvard University.
Powell led CAA’s flagship journal, The Art Bulletin, as editor-in-chief from 2008 to 2010. Among his many editorial accomplishments were substantial multiauthor interventions on decentering modernism, organized around an essay by Partha Mitter; on Pablo Picasso during wartime, for which a play by Ariel Dorfman served as anchor; and on Diego Velázquez’s Las Meninas in light of postcolonial and materialist discourses. In the latter, for example, lead author Byron Ellsworth Hamann explored the presence in the painting of materials from the Americas, including silver, clay, and the red dye cochineal.
Powell’s books include Cutting a Figure: Fashioning Black Portraiture (2008); Black Art: A Cultural History (2002); Jacob Lawrence (1992); and Homecoming: The Art and Life of William H. Johnson (1991), which drew from his dissertation on this twentieth-century American artist. He was the primary or sole author of numerous exhibition catalogues, such as Circle Dance: The Art of John T. Scott (2005); Beauford Delaney: The Color Yellow (2002); To Conserve a Legacy: American Art from Historically Black Colleges and Universities (1999); and James Lesesne Wells: Sixty Years in Art (1986).
As a curator, Powell has organized and cocurated such exhibitions as Conjuring Bearden at Duke’s Nasher Museum of Art (2006); Back to Black: Art, Cinema, and the Racial Imaginary at the Whitechapel Art Gallery in London (2005); Rhapsodies in Black: The Art of the Harlem Renaissance for the Hayward Gallery in London and the Corcoran Gallery of Art in Washington, DC (1997); and The Blues Aesthetic: Black Culture and Modernism for Washington Project for the Arts (1989). His first curated show, Impressions/Expressions: Black American Graphics, appeared at the Studio Museum in Harlem in New York and toured nationally.
The 2016 Distinguished Scholar Session will take place on Thursday, February 4, 2016, 2:30–5:00 PM, at the Washington Marriott Wardman Park Hotel. Powell will be joined by three colleagues: Kobena Mercer, professor of history of art and African American studies at Yale University; Gwen Everett, associate professor of art history at Howard University and associate dean of the school’s Division of Fine Arts; Kellie Jones, associate professor of art history at Columbia University and director of undergraduate studies in the Department of Art History and Archaeology; and Suzanne Preston Blier, Allen Whitehill Clowes Professor of Fine Arts and of African and African American Studies at Harvard University.
CAA inaugurated its Distinguished Scholar Session in 2001, first honoring James S. Ackerman of Harvard University. Since then, the organization has recognized many illustrious writers, teachers, and curators, including Leo Steinberg (2002), John Szarkowski (2006), Linda Nochlin (2007), Svetlana Alpers (2009), Jonathan Brown (2011), Rosalind Krauss (2012), and Wen C. Fong (2013).
The website for the 104th Annual Conference in Washington, DC, to be held from Wednesday, February 3 to Saturday, February 6, 2016, at the Washington Marriott Wardman Park Hotel, is live today. Get a taste of conference highlights and discover the benefits of registration, including access to all program sessions and admission to the Book and Trade Fair.
The dynamic energy of Washington, DC—known for its world-class museums and as an international destination for American history and culture—provides the backdrop for our annual gathering of more than four thousand artists, art historians, museum directors and curators, arts administrators, scholars, and educators. Look forward to the best in new scholarship, innovative art, and in-depth discussion of issues in the visual arts today.
Highlights of this year’s conference include the presentation of CAA’s 2016 Awards for Distinction, an opening reception at the Katzen Arts Center at American University, and the sixteenth annual Distinguished Scholar Session honoring Richard J. Powell of Duke University. The two Distinguished Artists’ Interviews will feature the sculptor Joyce Scott, speaking to the curator George Ciscle.
Among the highly anticipated sessions are: “South to North: Latin American Artists in the United States, 1820s–1890s,” chaired by Katherine E. Manthorne; “Transforming Japonisme: International Japonisme in an Age of Industrialization and Visual Commerce,” led by Gabriel P. Weisberg; and the two-part “Formalism before Clement Greenberg,” chaired by Katherine M. Kuenzli and Marnin Young. Other exciting session topics range from art as adventure to the Hudson River School, from digital cultural heritage to algorithms and data in contemporary art, and from diversity in curatorial work to staging design in museums.
Online registration for individuals and institutions is now open. In addition, you can book your hotel reservations and make your travel arrangements—don’t forget to use the exclusive CAA discount codes to save money! Register before the early deadline, December 21, 2015, to get the lowest rate and to ensure your place in the Directory of Attendees. You may also purchase tickets for special events and for a place in one of eleven professional-development workshops on a variety of topics for artists and scholars.
CAA will regularly update the conference website in the months leading up to the four-day event, so please be sure to check back often. Averaging more than 40,000 unique visitors per month, the conference website is the essential source for up-to-the-minute updates regarding registration, session listings, and hotel and travel discounts. Visit the Advertising section to learn more about reaching CAA membership and conference attendees.
We look forward to seeing you in Washington, DC!
Smarthistory is working to provide essays and videos on the 250 objects that are part of the new AP art-history curriculum, launching fall 2015. We have eighteen objects left ranging from prehistoric to contemporary work. If you are interested in contributing a brief introductory essay on one of these, please drop us an email: email@example.com and firstname.lastname@example.org.
Here’s what missing (images can be found on this list):
- Apollo 11 Cave Stones (State Museum Namibia)
- Running horned woman, 6000–4000 BCE, Algeria
- Hall of the Bulls, Lascaux, France, 15,000–13,000 BCE
- Anthropomorphic stele (El-Maakir-Qaryat al-Kaafa), fourth millennium BCE (Riyadh)
- Terracotta fragment, Lapita, Solomon Islands, Reef Islands, 1000 BCE (University of Auckland
- Michel Tuffery, Pisupo Lua Afe (Corned Beef 2000), 1994 (MNZM/Museum of New Zealand)
- Frank Gehry, Guggenheim Museum Bilbao, 1997
- Magdalena Abakanowicz, Androgyne III, 1985, burlap, resin, wood, nails, and string (Metropolitan Museum of Art)
- Portrait mask (Mblo), Baule peoples (Côte d’Ivoire), late nineteenth or early twentieth century
- Lukasa (memory board), Mbudye Society, Luba peoples, (DR Congo), ca. nineteenth or early twentieth century
- Night Attack on the Sanjô Palace, Kamakura Period, Japan, ca. 1250–1300 CE (Museum of Fine Arts, Boston)
- Ambum Stone, Papua New Guinea, ca. 1500 BCE (National Gallery of Australia)
- Nan Madol, Pohnpei, Micronesia, Saudeleur Dynasty. ca. 700–1600 CE
- ‘Ahu ‘ula (feather cape), Hawaiian, late eighteenth century
- Tamati Waka Nene, Gottfried Lindauer, 1890 CE, oil on canvas
- Malagan display and mask, New Ireland Province, Papua New Guinea, ca. twentieth century (University Museum, Pennsylvania)
We are also looking for contributions from art historians on other broadly taught topics.