CAA News Today

CAA Names Recipients for
2017 CAA-Getty International Program Reunion

Celebrating five successful years of the CAA-Getty International Program, the College Art Association (CAA) is pleased to announce the selection of twenty alumni to participate in a reunion program during the 2017 CAA Annual Conference, taking place in New York City from February 15-18. Funded by a generous grant from the Getty Foundation, the alumni will join distinguished scholars from the United States for a series of four conference sessions on international topics in art history.

The twenty alumni chosen for the reunion program will travel to the Annual Conference from home countries as varied as Malaysia, Cameroon, and Argentina, to name a few. As scholars, their work encompasses an equally wide spectrum, including topics such as international modernism, Islamic architecture in Southeast Asia, and contemporary aesthetics and art. Connecting the diverse mix of cultural, environmental, and scholarly backgrounds is central to the mission of CAA.

2017 CAA-Getty International Program Reunion participants

Since 2012, the Getty Foundation has supported CAA in bringing between fifteen and twenty scholars from countries around the world to its Annual Conference. Open to professors of art history, curators, and artists who teach art history, the program boasts ninety alumni from forty-one countries. Many scholarly collaborations and exchanges have ensued, both between these international scholars and North American members of CAA, and among the international scholars themselves. The 2017 reunion will celebrate these accomplishments and deepen ties with these international scholars.

“It is a pleasure to work with CAA on the international program, which has brought so many interesting scholars from all over the world to the United States for the Annual Conference,” said Deborah Marrow, director of the Getty Foundation. “We have learned so much from the scholars’ participation and are delighted to support the upcoming reunion program. Congratulations to CAA and these remarkable alumni.”

This past summer, alumni helped to shape the reunion plans, working with members of CAA’s International Committee. Using CAA Connect, CAA’s new digital discussion platform, committee members Elisa Mandell (California State University, Fullerton), Judy Peter (University of Johannesburg, South Africa), and Miriam Paeslack (University of Buffalo), in consultation with committee chair Rosemary O’Neill (Parsons The New School for Design), moderated an online discussion about a wide range of international issues, looking for ideas that would make particularly good topics for the four conference sessions to be held in February. Linked under the heading “Global Conversations,” the daily sessions will address the following topics: “Decolonizing the Curriculum, “Dominant Ideologies and Political Trauma,” “The Trouble with (the Term) Art,” and “Transnational Collaborations and Interdisciplinarity.”

Joining the alumni at these sessions will be four members (or former members) of the National Committee for the History of Art (NCHA). Since it began, the CAA-Getty International Program has benefitted from the participation of NCHA members, both as speakers and hosts to the international colleagues. This year, Frederick Asher (University of Minnesota), Michael Ann Holly (Research and Academic Program, Sterling and Francine Clark Art Institute), Mary Miller (Yale University), and David Roxburgh (Harvard University) are each moderating one of the Global Conversations, adding their expertise to the discussions.

CAA is grateful to the Getty Foundation for its ongoing support of this program, and to the members of CAA’s International Committee and NCHA who have contributed their time and expertise to making the program a success.

About CAA

The College Art Association (CAA) 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, website, and other programs, services, and events. CAA focuses on a wide range of advocacy 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. Learn more about CAA at www.collegeart.org.

About the J. Paul Getty trust and the Getty Foundation

The J. Paul Getty Trust is an international cultural and philanthropic institution devoted to the visual arts that includes the J. Paul Getty Museum, the Getty Research Institute, the Getty Conservation Institute, and the Getty Foundation. The J. Paul Getty Trust and Getty programs serve a varied audience from two locations:  the Getty Center in Los Angeles and the Getty Villa in Pacific Palisades.

The Getty Foundation fulfills the philanthropic mission of the Getty Trust by supporting individuals and institutions committed to advancing the greater understanding and preservation of the visual arts in Los Angeles and throughout the world. Through strategic grant initiatives, the Foundation strengthens art history as a global discipline, promotes the interdisciplinary practice of conservation, increases access to museum and archival collections, and develops current and future leaders in the visual arts. It carries out its work in collaboration with the other Getty Programs to ensure that they individually and collectively achieve maximum effect. Additional information is available at www.getty.edu/foundation.

For more information about the CAA-Getty International Program contact Janet Landay, Project Director.

Rhodes Must Fall, downloaded from https://www.facebook.com/RhodesMustFall/photos

Posted by Janet Landay, Project Director, CAA-Getty International Program (for CAA News and the International Desk)

This summer I was invited by two alumni of the CAA-Getty International Program—Karen von Veh and Federico Freschi, both from the University of Johannesburg—to attend the 31st Annual Conference of the South African Visual Arts Historians (SAVAH). In the first five years of the CAA-Getty program, seven art historians from South Africa have participated—the most from any single country. Their strong presence at CAA’s Annual Conferences suggests a robust community of scholars, and I was eager to witness it firsthand.

In late July I flew to Johannesburg, where I met up with Rosemary O’Neill, associate professor of art history at Parsons the New School of Design and chair of CAA’s International Committee, who was also participating in the conference. On the day we arrived there was an intense thunderstorm followed by large hail. Our hosts, Karen von Veh and her husband Bengt, assured us that this was not normal for a Johannesburg winter. By the next day the sun had come out, and it remained sunny and pleasantly cool for the rest of our stay.

The weather may well serve as a metaphor for the abnormal state of affairs in South Africa: unusually stormy one day, seemingly calm the next. Twenty-two years after the end of apartheid, the country, and especially its university system, is in an enormous state of flux. Since March 2015, students have militated against South Africa’s twenty-three government-funded universities in two related protests. The first was Rhodes Must Fall, which demanded the removal of a sculpture of Cecil Rhodes, the embodiment of British racist colonial imperialism, from the University of Cape Town (UCT), and included the broader demand for decolonizing the university system, including curricula, language of instruction, and workers’ rights.

In October 2015 came Fees Must Fall, prompted by the announcement of a steep increase in fees at the University of Witwatersrand. Both movements have had successes: the UCT sculpture of Rhodes was removed, and many other public symbols of colonial rule have been taken down or defaced; students at Rhodes University persuaded authorities to consider renaming the school; and the government announced there would be no tuition increase for 2016. (This issue is being debated again, as increases for 2017 have elicited renewed protests.) These events are taking place at the same time that the government is reducing financial support for the universities.

Art, Design and Architecture Building at the University of Johannesburg, downloaded from university website, https://www.uj.ac.za/faculties/fada/Pages/Facilities.aspx

This was the context for SAVAH’s Annual Conference, as approximately sixty professors of art history, visual culture, and studio art gathered at the University of Johannesburg for three days of papers and discussion. Organized by Federico Freschi (executive dean), Brenda Schmahmann (research professor), and Karen von Veh (associate professor), all from the Faculty of Art, Design, and Architecture at the University of Johannesburg, the conference was titled “Rethinking Art History and Visual Culture in a Contemporary Context.” The ongoing crisis in higher education charged the sessions and discussions with particular intensity. The subjects addressed, whether historical, pedagogical, or political, were not chosen solely for theoretical considerations; speakers were seeking practical solutions to the immediate challenges they face as scholars and teachers in post-apartheid South Africa.

An underlying theme of the conference—how can art history be relevant and useful to scholars and students at this charged moment in time?—was a subtext in Steven Nelson’s eloquent keynote address. In a discussion of works by Houston Conwill, Moshekwa Langa, and Julie Mehretu, Nelson—a professor of African and African American art and director of the Center for African Studies at the University of California, Los Angeles—considered how the use of mapping and geography by these artists has reshaped our understanding of African ancestry, notions of diaspora, and urban spaces. The weaving of past and present, continental Africa and the African diaspora, and art-historical analyses of traditional forms and new media exemplified the ongoing relevance of the art-historical discipline to understanding contemporary art and culture.

Session topics during the two-day conference ranged from “International Curatorial Practices” to “The Politics of Display in South Africa” and “Decolonizing Education (Parts I and II)” to “Postcolonialism beyond South Africa.” Alison Kearney, a lecturer at the University of the Witwatersrand, delivered a paper titled “Art history is dead—long live art history!” in which she explored the deeper meaning of decolonizing the university, beyond the tokenistic call for more black authors and artists. This decolonization will lead to “the inevitable end of art history” and a return to the work of art and an interdisciplinary approach as a “deliberate means of destabilizing a single disciplinary gaze.” Fiona Siegenthaler, a senior lecturer at the Institute for Social Anthropology, Universität Basel, compared the call for decolonization in South Africa to the one in Uganda. Because the population in Uganda is overwhelmingly black, the call for decolonization has little to do with the racial profile of its teachers or students. Rather, the country is focused on rewriting curricula to be more relevant to their students’ lives. Both countries, she stated, are skeptical about the hegemony of neoliberalism as a form of neocolonialism, on the one hand, and the need for access to international contemporary art, art institutions, art markets and funding organizations, on the other.

Several speakers explored alternative approaches to current studies in South African art history. Lize van Robbroeck, from the University of Stellenbosch, spoke about “settler colonial studies” and a multinational research project she is part of that examines settler life in five former British dominions: New Zealand, South Africa, Canada, Australia, and the United States. The cultural, economic, and political circumstances in each of these colonies, in spite of particular dynamics in each, created comparable artistic products in the early to mid-twentieth century. The group’s research suggests that the demands to establish national art canons in each of these locations led to a corresponding art-historical neglect of the striking cross-national similarities in the art produced by artists in each place.

A paper by Jackson Davidow, from the Department of Architecture at MIT, called on the discipline of art history to enlarge its approach to “traverse geographies, temporalities, environments, and communities.” He made the case by discussing a global history of AIDS activist art, which must still be historically contextualized within local landscapes. His paper posed a crucial question to contemporary scholars: “How can global art histories work to decolonize and deconstruct the practices of our discipline rather than perpetuate its oppressive structuring?”

The conference ended with two papers from other humanities disciplines. The first one, by Brett Pyper from the University of the Witwatersrand, was about curating indigenous musical performances at the National Arts Festival in Grahamstown. Leana van der Merwe, of the University of Pretoria, delivered the second, which was about an “African” feminist philosophy of art. Many of the conference papers will be published in an upcoming issue of De Arte, a peer-reviewed South African journal on visual arts, art history, and art criticism.

The SAVAH conference was not the only significant art event taking place in Johannesburg during my visit. The meetings coincided with a historic exhibition held downtown at the Standard Bank Gallery: the first-ever presentation on the African continent of paintings and works on paper by Henri Matisse.

Henri Matisse, The Horse, the Rider and the Clown,1947, fifth plate of the book Jazz, Musée Matisse in Le Cateau-Cambrésis

Juxtaposed against the topic of the conference—rethinking art history in a contemporary context—this major exhibition provided another bellwether of the state of art history in South Africa. The absence of Matisse exhibitions in the entire continent until now can partially be explained by practical reasons related to insufficient resources (shipping and insurance costs, museum-quality exhibition spaces, etc.), but it is also likely due, in part, to a reluctance or lack of interest on the part of European and American collections and African-based organizers to bring the artist’s work to African audiences, in spite of Matisse’s great interest in African art. During my visit to South Africa, I was struck by the lack of Western art displayed in the museums, with the exception of a small collection on view at the National Museum in Cape Town. Little access to this art is yet another challenge for professors of art history, and it must relate to the absence of Matisse exhibitions as well. Why should South Africans be interested in his work if, for many, he is an unknown, dead white European artist? There is an audience for Matisse in South Africa, including the well-educated professional class and an active, sophisticated group of collectors who support a growing number of commercial galleries. There is also a vibrant community of artists in South Africa whose work characteristically draws on indigenous artistic traditions as well as global art. In spite of the limited audience—or perhaps because of it—a Matisse exhibition in Johannesburg is an important event, a major step toward broadening an appreciation of global art and its history.

In Johannesburg, the Matisse exhibition was the fourth in a series of presentations at the Standard Bank Gallery of works by twentieth-century modern European masters. Previous projects focused on Mark Chagall, Joan Miró, and Pablo Picasso. Through the curatorial efforts of Federico Freschi and Patrice Deparpe, director of the Musée Matisse in Le Cateau-Cambrésis, the exhibition Henri Matisse: Rhythm and Meaning was on view at the Standard Bank Gallery from July 13 to September 17, 2016. It included significant paintings, drawings, collages, and prints covering all the dominant themes in the artist’s oeuvre, from his early Fauvist years to the paper cut-outs produced in the last years of his life. As Freschi noted in introductory remarks, “Of particular interest to South African audiences is the inspiration Matisse took from African and other non-Western art forms during the early 1900s while struggling to find a new visual language to express the particular experience of the new, modern age.”

Patrice Deparpe, Director of the Musée Matisse in Le Cateau-Cambrésis, in the exhibition Henri Matisse: Rhythm and Meaning, downloaded from website of the Embassy of France in South Africa.

To open the SAVAH conference, a lecture, gallery talk and reception for the exhibition was held the evening before the conference proceedings began. Rosemary O’Neill presented a thought-provoking lecture titled, “Henri Matisse: Fluid Memory, Embodied Signs.” Her paper considered aspects of Matisse’s work in relation to the construct of memory, time, and intuitive expression, as well as the influence of the ideas of philosopher Henri Bergson. In discussing Jazz, O’Neill identified ways in which his Tahitian memories from 1930, as well as his own cultural context and artistic trajectory, resulted in the realization of the innovative process and expression soon evident in Matisse’s late cut-outs; their importance in relation to a revival of the decorative impulse in postwar France; and their analogous relationship to poetic and musical phrasing—that is, a system of ensemble signs—as articulated in the writings of the poet Louis Aragon. Freschi’s subsequent gallery talk elaborated on Matisse’s exploration of African modes of representation in his early works; then, calling special attention to the series of prints that comprise the artist’s book, Jazz, he emphasized the influence of his travel to Tahiti and the archipelago islands that appear in his use of patterns and rhythms, ephemeral materials, and a conceptual rather than perceptual approach to image making.

For an American visitor, the conference and exhibition provided much food for thought. It was impossible to ignore similarities in the dissatisfactions of university students in both countries. Like their South African counterparts, U.S. students are demanding a greater diversity of voices in the curriculum, on the faculty, and in the administrations of colleges and universities. In both countries, growing complaints about racial inequality and ties to apartheid or slavery have resulted in important, if mostly symbolic, changes. At about the same time that South African authorities were removing sculptures of Cecil Rhodes and suspending tuition hikes, leaders at Georgetown University announced efforts to make amends for its complicity in the nation’s slave trade, including preferential admissions for descendents of slaves sold in 1838 by Maryland Jesuits to stave off the college’s bankruptcy. Other schools, such as Brown University, Harvard University, Emory University, and the University of Virginia, have made their historical ties to slavery public and announced plans such as renaming buildings, creating racial justice programs, and erecting memorials acknowledging their ties to the transatlantic slave trade.

[Just last week in New York City, as part of an anti-Columbus Day protest, a diverse group of protesters, united under the banner “Decolonize This Place,” demanded the removal of an equestrian sculpture of Theodore Roosevelt (flanked on either side by a Native American and an African American) at the entrance to the American Museum of Natural History. The crowd included activists from the Black Lives Matter, Indigenous rights, and other labor and social justice movements. Calling it “the most visible symbol of white supremacy in New York,” the group also called for “decolonizing of the museum,” citing specific exhibits within the museum that highlight its history of white supremacy and colonialism. The demonstration was one of many across the country protesting the continued observance of Columbus Day, demanding that it be replaced by Indigenous People Day.]

From my vantage point as a participant at the SAVAH conference, the most striking similarity between the two countries was the paucity of people of color among art history professors and students. This was the great unspoken problem at the conference, evidenced by the prevalence of white faculty and students at a gathering focused on decolonization, art and activism, and keeping art history relevant. There were a small number of people of color at the conference among both speakers and attendees, but much like at a CAA Annual Conference, the dominant color was white. The answer is not, as some radical South African students demand, to rid the curriculum of all European content, or to replace all white professors with black ones; rather, it lies both in a multiplicity of voices and a questioning of assumptions rooted in the foundational texts of the field. Solving this problem may be the greatest challenge to art history’s relevance, even as progress is made alongside the slow path to racial equality.

South Africa is sometimes called a Petri dish for studying race relations. Only twenty-two years away from government-enforced racism, the country’s efforts in building a democratic, racially equal society offer many lessons about effective and less effective ways to accomplish radical change. The art historians I met in Johannesburg have created a vital community in which to study and struggle with these lessons. They are keeping the discipline of art history alive and relevant to the cultural and political challenges they face. But how they do it may provide important guidelines for scholars in the United States. In spite of numerous differences between the two countries—especially in scale, resources, and history—both South African and U.S. art historians are grounded in the same antecedents. How to retain the strengths of a discipline born in nineteenth-century Germany while stretching its geographic parameters to include all cultures is a challenge we all face.

Comment on this article in the Diversity in the Arts community on CAA Connect.