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News from the Art and Academic Worlds

posted by CAA — Nov 13, 2019

Lin-Manuel Miranda at the Art Museum of Puerto Rico in San Juan, Puerto Rico, in 2018. Photo: Carlos Giusti/AP/Shutterstock, via ARTnews

Lin-Manuel Miranda Teams Up with Google for Major Art Digitization Project in Puerto Rico

The collaboration was formed after Miranda’s recent visit to the Instituto de Cultura Puertorriqueña in San Juan, which currently lacks a permanent space for exhibitions. (ARTnews)

What’s Next for Nonprofit Museums after the Closing of the Marciano Art Foundation?

The museum abruptly closed last week after laying off dozens of employees attempting to unionize, and now faces a charge from the National Labor Relations Board. (Los Angeles Times)

Here’s How to Make Your Teaching More Inclusive

Incorporate these practical steps into your teaching to minimize inequities and help more students succeed. (Chronicle of Higher Ed)

MoMA’s Revisionism Is Piecemeal and Problem-Filled: Feminist Art Historian Maura Reilly on the Museum’s Rehang

“Does Ringgold need to be linked with Picasso to validate her genius?” (ARTnews)
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Filed under: CAA News

Annual Conference Committee Seeks Members

posted by CAA — Nov 12, 2019

CAA invites nominations and self-nominations for two at-large members of the Annual Conference Committee to serve a three-year term. Terms begin February 2020, immediately following the 108th Annual Conference.

The Annual Conference Committee, working with the CAA Programs Department, selects the sessions and shapes the program of the Annual Conference. The committee ensures that the program reflects CAA’s goals for the conference, namely, to make it an effective place for intellectual, aesthetic, and professional learning and exchange; to reflect the diverse interests of the membership; and to provide opportunities for participation that are fair, equal, and balanced.

The Annual Conference Committee meets during the conference and at the call of the program chair and vice president for Annual Conference. Committee members also serve to support sessions comprised of individual papers and projects where a formal chair has not been identified.

Please send a 150-word letter of interest and a CV to Mira Friedlaender (, CAA manager of annual conference.

Deadline: January 16, 2020

Filed under: Annual Conference, Service

We’re delighted to announce that N. Elizabeth Schlatter was elected at our October Board meeting as the new President of the CAA Board of Directors. She will succeed Jim Hopfensperger and serve a two-year term beginning May 1, 2020.

N. Elizabeth Schlatter is Deputy Director and Curator of Exhibitions at the University of Richmond Museums, Virginia. A museum administrator, curator, and writer, she focuses on modern and contemporary art and on topics related to curating and issues specific to university museums. At UR, she has curated more than 20 exhibitions, including recent group exhibitions of contemporary art such as “Crooked Data: (Mis)Information in Contemporary Art,” “Anti-Grand: Contemporary Perspectives on Landscape,” and “Art=Text=Art: Works by Contemporary Artists,” She also serves on and chairs various University and School of Arts & Sciences committees. Prior to the University of Richmond, she worked with exhibitions at the Smithsonian Institution Traveling Exhibition Service (SITES) in Washington, D.C, and in fundraising at the Contemporary Arts Museum, Houston. She is author of Museum Careers: A Practical Guide for Novices and Students (Left Coast Press, Inc.) and a contributor to A Life in Museums: Managing Your Museum Career (American Association of Museums). She has a B.A. in art history from Southwestern University in Texas, and an M.A. in art history from George Washington University.

Prior to this elected position, Schlatter was completing a 4-year term as a CAA board member, elected in February 2016. During that time, she served as Vice President for Annual Conference for two years, and in 2019 she served on the Nominating Committee and the Strategic Plan Task Force. She jointly initiated and assisted with the development of CAA’s Resources for Academic Art Museums Professionals (RAAMP), and prior to joining CAA’s board, she was chair of the Museum Committee.

CAA invites nominations and self-nominations for two individuals to serve on the Art Journal / AJO Editorial Board for a three-and-one-half-year term: January 1, 2020–June 30, 2023 Candidates may be artists, art historians, art critics, art educators, curators, or other art professionals; institutional affiliation is not required. Art Journal, published quarterly by CAA, is devoted to twentieth- and twenty-first-century art and visual culture. AJO is an online forum for the visual arts that presents artists’ projects, conversations and interviews, scholarly essays, and other forms of original content. Committed to fostering new intellectual exchanges in the fields of modern and contemporary art, AJO prioritizes material that makes meaningful use of the web and publishes on a rolling basis.

The editorial board advises the Art Journal and AJO editors-in-chief and assists them in seeking authors, articles, artists’ projects, and other content for the journal; performs peer review and recommends peer reviewers; guides the journals’ editorial programs and may propose new initiatives for them; promotes and advocates for both journals; and may support fundraising efforts on their behalf. Members also assist the editors-in-chief to keep abreast of trends and issues in the field by attending and reporting on sessions at the CAA Annual Conference and other academic conferences, symposia, exhibitions, and events.

The Art Journal / AJO Editorial Board meets three times a year, with meetings in the spring and fall plus one at the CAA Annual Conference in February. The fall and spring meetings are currently held by teleconference. Members are expected to pay travel and lodging expenses to attend the conference in February. Members of all editorial boards volunteer their services to CAA without compensation.

Candidates must be current CAA members in good standing and should not be serving on the editorial board of a competitive journal or on another CAA editorial board or committee. Members may not publish their own work in the journals during the term of service. CAA encourages applications from colleagues who will contribute to the diversity of perspectives on the Art Journal / AJO Editorial Board and who will engage actively with conversations about the discipline’s engagements with differences of culture, religion, nationality, race, gender, sexuality, and access. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a letter describing your or your nominee’s interest in and qualifications for appointment, a CV, and your contact information to Joan Strasbaugh, Managing Editor, at or c/o CAA, 50 Broadway, 21st floor, New York, NY 10004.

Deadline: Sunday, December 8, 2019

Filed under: Art Journal, Publications

Chalice Mitchell and Charlotte Brisland

posted by CAA — Nov 11, 2019

The weekly CAA Conversations Podcast continues the vibrant discussions initiated at our Annual Conference. Listen in each week as educators explore arts and pedagogy, tackling everything from the day-to-day grind to the big, universal questions of the field.

CAA podcasts are on iTunes. Click here to subscribe.

This week, Chalice Mitchell and Charlotte Brisland discuss painting and relationships to public and private audiences.

Chalice Mitchell is an independent scholar, figurative painter, and occasional video artist who has just relocated back to the United States after living in Japan and the UK.

Charlotte Brisland is an associate lecturer in drawing and painting at University of the Creative Arts in the UK, and an artist borrowing painting’s language and playing with everyday landscape using light and space.

Chalice and Charlotte first met in Japan at a residency.

Filed under: CAA Conversations, Podcast

New in

posted by CAA — Nov 08, 2019


Atreyee Gupta reviews No Touching, No Spitting, No Praying: The Museum in South Asia, edited by Saloni Mathur and Kavita Singh, alongside Displaying Time: The Many Temporalities of the Festival of India by Rebecca M. Brown. Read the full review at

Stephennie Mulder writes about Heghnar Zeitlian Watenpaugh’s volume The Missing Pages: The Modern Life of a Medieval Manuscript, from Genocide to Justice. Read the full review at

Elizabeth Berkowitz considers Hilma af Klint: Paintings for the Future, formerly on view at the Solomon R. Guggenheim MuseumRead the full review at

Juliette Milbach discusses the Tate Britain exhibition Aftermath: Art in the Wake of World War OneRead the full review at


Filed under:

Affiliated Society News for November 2019

posted by CAA — Nov 07, 2019

Affiliated Society News shares the new and exciting things CAA’s affiliated organizations are working on including activities, awards, publications, conferences, and exhibitions.

Interested in becoming an Affiliated Society? Learn more here.

Mid-America College Art Association

The Mid-America College Art Association is seeking to add a board member position to assist with financial aspects of the organization. The Association is an all-volunteer, national organization in the process of shaping a five-year plan (and beyond!) The Board meets once per month via ZOOM online meetings. If interested, please contact: Heather Hertel at

American Society of Appraisers

Introduction to the Chinese Art Market, Challenges and Opportunities
Wednesday, February 5, 2019 | Webinar| 1:00pm – 3:00pm ET | $79 members; $119 non-members

In the past 20 years, the Chinese art market has grown dramatically, tracking the expansion of the Chinese economy, which is now the world’s second largest. This webinar will provide an overview of the socio-economic forces behind its dramatic growth and headline making prices at auction, and the challenges of appraising and advising on Chinese art. According to Artprice, since 2006, China has consistently been in the top three global art markets and is the largest in Asia.  Some sectors are booming with prices often wildly exceeding auction high estimates, while others have stayed the same or declined. Drawing on more than twenty-five years in the field of Chinese art as an art historian, educator and appraiser, the presenter will address the following:  the factors behind the growth of certain sectors, the role of mainland Chinese collectors and Chinese auction houses in driving the market, why the IRS will not accept realized sales from Chinese auction houses, the industry of fakes and forgeries of Chinese painting, sculpture, ceramics among other works of art and its impact on the market.

To see more upcoming ASA webinars and classes, click here.

William Morris Society in the United States

The William Morris Society in the United States is sponsoring two sessions at the Modern Language Association convention in Seattle on January 11 and 12, 2020.

Our first session, “Re-evaluating the Pre-Raphaelites,” examines how recent exhibitions have reassessed Pre-Raphaelite art and design, from William Holman Hunt and the Pre-Raphaelite Vision at the Manchester Art Gallery in 2009 to the traveling exhibition Victorian Radicals: From the Pre-Raphaelites to the Arts and Crafts Movement at venues through 2021. These displays have positioned the intersection of art, design, and literature as defining features of the Pre-Raphaelites and the Arts and Crafts movement, marking them as both “avant-garde” and deeply engaged with the past.

Our second session, “Ecosocialism and the Late Victorians,” is co-sponsored with the Association for the Study of Literature and Environment and addresses how the late nineteenth century saw artists and writers, including Morris, plant the seeds of ecological concerns in socialist politics, leading to innovative approaches to both environmental and socialist ideas.

Interested attendees who are not members of MLA may obtain guest passes by contacting

For paper abstracts, panelists, and scheduling information, see

Society of Architectural Historians

The Society of Architectural Historians (SAH) and University of Virginia Press are pleased to announce a new open-access, mobile-friendly edition of SAH Archipedia, an authoritative online encyclopedia of the built environment of the United States developed by SAH and Rotunda, the Press’s digital imprint, with lead funding from the National Endowment for the Humanities: The newly redesigned SAH Archipedia brings peer-reviewed scholarship to a worldwide audience of researchers, students, teachers, preservation advocates, cultural tourists and others interested in learning more about the architectural history of the U.S.

SAH will offer 36 paper sessions at its 2021 Annual International Conference in Montréal, Québec, Canada. The Society invites individuals and those representing SAH chapters and partner organizations to submit a session proposal for the Montréal conference. SAH membership is required to chair or present research at the annual conference; non-members who are selected to chair a session will be required to join SAH in August 2020. Session proposals covering every time period and all aspects of the built environment, including landscape and urban history, are encouraged. Session proposals are due January 14, 2020.

In a joint program with the Athenaeum of Philadelphia, SAH is pleased to offer the Charles E. Peterson Fellowship that will support the participation of a graduate student in the research and writing for a volume in the Buildings of the United States (BUS) series and/or SAH Archipedia. The recipient will research some aspect of American architecture prior to 1860, which they may choose from a list of topics provided by authors of forthcoming BUS books. The fellowship is intended for students currently enrolled in graduate programs in art or architectural history, architectural design, urban planning, historic preservation, landscape architecture, American studies, or related disciplines. The application deadline is January 6, 2020.

Historians of Islamic Art Association

CFP: Regime Change

University of Michigan
Ann Arbor

How do we write histories of Islamic art and architecture, and in the service of what interests? We might proceed from questions about the intentions of patrons, the agency of craftsmen, and their responses to previous artistic production, thereby allowing artifacts and monuments to be set within a historical, social, and/or artistic context. We might also posit large-scale organizational forms—dynasties, courts, regimes, workshops, technological systems, and exchange circuits—as frames that regulate aspects of life, belief, and ultimately artistic creativity. Recent scholarship has also shifted focus to other forms of agency. For example, “reception history” and the “history of objects” have attempted to move beyond the process of creation to consider the role of later actors and material accretions for the significance of artifacts, while the “material turn” in art history has sought to challenge rigidly anthropocentric epistemologies and open up narratives told by the “stuff” of art.

The aim of this conference is to focus on moments of “regime change” in Islamic art history and to also direct attention to “regimes” that structure our own field, raising questions of interpretation and method. We invite new research focusing on art and architecture after clear political ruptures (e.g., invasion, occupation, conversion); on the replacement of one symbolic order with another (e.g., public inscriptions in the urban space, changes in sartorial codes, new gender norms); and on the transfer of resources (e.g., artists, objects, libraries, treasuries) from one power to another. We also invite panels and papers that explore the potentials and pitfalls of new interpretive and methodological approaches to core questions about objects, material, and images, in both the academy and the museum.

Call for Papers

The submission deadline for pre-organized panels and single papers is December 1, 2019. For single papers, please submit as a single attachment a one-page CV and a paper abstract of no more than 250 words. For pre-organized panels (three or four papers), please submit as a single attachment one-page CVs for all speakers, and the panel abstract and individual abstracts, each no more than 250 words.

Please submit panels and papers to Christiane Gruber, Organizer ( All other queries may be directed to Bihter Esener, Managing Organizer (

Accepted speakers must be HIAA members in good standing by the time of the symposium. Speakers will have their travel expenses and accommodation covered by the University of Michigan and HIAA.

The 2020 HIAA Symposium Committee:

Christiane Gruber, organizer

Anneka Lenssen, Michael Chagnon, and Alain George, committee members


ACASA Triennial 2020 Program Preview
ACASA 18th Triennial Symposium on African Art, June 17 – 21, 2020

The ACASA 18th Triennial Symposium on African Art will take place at DePaul University and the Art Institute of Chicago, June 17-21, 2020. This is the preliminary program:

Tuesday, June 16
Conference Registration, DePaul University Center

Wednesday, June 17

Museum Day and Reception, the Art Institute of Chicago. Separate registration required

Thursday-Sunday, June 18-21, 8am-5pm

Conference Panels, DePaul University Center

Thursday evening, June 18

Evening Reception at the Block Museum, Northwestern University

Friday evening, June 19
Awards Ceremony and Keynote Lecture by Koyo Kouoh, Executive Director and Chief Curator of Zeitz MOCA, the Art Institute of Chicago

Saturday, June 20, 5-9pm
Dinner and Dance Party, DePaul Student Center

For more and detailed information and registration, see:
ACASA website

Women’s Caucus for Art

Women’s Caucus for Art 2020 conference has a theme of Intersectionality

This conference, centered at Columbia College and concurrent with CAA, includes a wide range of panels and workshops.

The WCA 2020 President’s Award for Art and Activism will be given to Rose B. Simpson, a mixed-media artist, whose work addresses the emotional and existential impacts of living in the 21st century, an apocalyptic time for many analogue cultures. Her figures are often powerful matriarchs or elusively androgynous empaths who channel the spirits of high art, hiphop, lowrider attitudes, and long-lost ancestors of all kinds. Simpson’s work will also be discussed by Alicia Harris in the CAA panel on Inappropriate Bodies: Art, Design, and Maternity.

WCA has a new LGBTQIA+ Committee. Those interested in joining should contact the chair, Emily Getsay:

There are two national juried exhibitions on view during the conference, February 12-16: “Collectively Shifting,” Cecilia Vargas, juror, at Bridgeport Art Center and “Intersectional History,” Donna M. Weeks, juror at Woman Made Gallery.

American Institute for Conservation

We’re looking forward to our 2020 Annual Meeting in Salt Lake City! The theme is “Conservation – Reactive and Proactive.” Registration is now open! The full program schedule will be available shortly, so please continue to check our site for updated information.

Conservators play a vital role in protecting and preserving the objects and places that tell the story of our lives, history, and society. Become a Friend of Conservation and make sure our past has a future.

If you are interested in learning more about conservation and supporting the essential work performed by conservators, or want exclusive insights into conservation, including tips on preserving personal collections, learn about the benefits of being a Friend:

Historians of German, Scandinavian, and Central European Art and Architecture (HGSCEA) 

HGSCEA is now accepting submissions for the Society’s 8th Annual Emerging Scholars Essay Prize, an award of $500 given annually to the author of a distinguished article or essay published the preceding year on any topic in the history of German, Scandinavian, or Central European art, architecture, design, or visual culture. Submissions, which must be in English and may be from electronic or print publications, must have a publication date of 2019. Applicants must be either current Ph.D. students or have earned a Ph.D. in or after 2015, and must be members of HGSCEAat the time of application. The deadline for submissions is 16 December 2019.

The Board is also seeking nominations and self-nominations for election to the HGSCEA Board for a three-year term to begin February 2020. Candidates for four at-large Board Members as well as for four Board Officers are all welcome. Each of HGSCEA’s three areas – Germany, Scandinavia, and Central Europe – should have at least one representative on the Board and candidates from all three of these areas are currently sought. Any member of HGSCEA in good standing may seek election to the Board. The deadline for nominations is 25 November 2019.

For more information on how to join HGSCEA, on the responsibilities of Board members, and how to submit materials either for the publication prize or for the election, please go to the HGSCEA website:

Renaissance Society of America

RSA Travel, Diversity, and On-Site Care Grants
The Renaissance Society of America will hold its Annual Meeting in Philadelphia April 2-4, 2020. RSA members are invited to apply for travel, diversity, and on-site care grants. Each grant has a separate application with different requirements. Applications for conference grants are now live and can be found here. The deadline for all grant applications is December 3, 2019. Haven’t registered for the conference yet? Here is the link.

Day of Digital Learning
The RSA is pleased to offer a Day of Digital Learning on Sunday, 5 April 2020, the day after our Annual Meeting in Philadelphia (April 2-4, 2020). A tentative course list is now available to view. Signup will begin in January.

Innovative Teaching Grant Winners Announced
The RSA is pleased to announce our Grants in Support of Innovative Teaching of Renaissance Studies to High School Students will fund two projects this year. One examines the historiography of Spanish Arizona and the other highlights an inclusive Shakespeare curriculum. RSA President Clare Carroll announces our winners.

Renaissance Quarterly Open Access
The Editors of Renaissance Quarterly are pleased to provide complimentary access to two collections of articles from the journal, one relating to Islam and the Middle East and the other on The Americas.


The Board of the Society of Historians of Eastern European, Eurasian, and Russian Art and Architecture (SHERA) is pleased to announce that Anna (Ania) Paluch of Carleton University has been awarded the SHERA Graduate Student or Independent Scholar Travel Grant to attend and present at the 108th CAA Annual Conference in 2020. She will be delivering a paper entitled “From Turtle Island to Vistula’s Shores: Indigenous and Slavic Futurisms in Dialogue” as part of the panel “The Present of the Future: Indigenous Futurisms in the Visual Arts” (Saturday, February 15, 2:00 – 3:30 PM in Continental B, Lobby Level). Paluch examines “the use of oral stories, memories, history, and cultural survivance within pop culture, contact zones, Native and Slavic Slipstreams and oral stories/legends as sci-fi (SF) narratives within Indigenous Futurism and Slavic Futurism, and how these genres are connected through those concepts.”

The SHERA-sponsored panel “Freezes and Thaws in the Socialist Bloc” will be held on Saturday, 4:00 – 5:30 PM in the Astoria Room (3rd Floor). This session will consider art from the former Soviet Bloc and beyond that tried to recuperate, revivify, or re-engage cultural formations that had previously been rejected or suppressed. Papers include: “A Classic(al) Russian Freeze: Timur Novikov and the New Academy of Fine Arts” (Liana Battsaligova, Yale University); “Jugoslovenka and her Discontents: Feminist Resistance During Yugoslav Socialism & After” (Jasmina Tumbas, University at Buffalo); and, “Neo-avantgarde on repeat: Polish contemporary artists revisit the 1970s” (Magdalena Moskalewicz, School of the Art Institute of Chicago).

Association of Greek Art Historians (EEIT)

The 6th National Conference the Association of Greek Art Historians (EEIT) will be held November 22 through 24, 2019 at the Amphitheater of the Benaki Museum, 138 Pireos Street, Athens, Greece. Thirty eight papers will respond to the conference’s theme, “Periods of Crisis and Paradigm Shifts,” and will address the following topics: canonical narratives and their relative ‘paradigms’; paradigm shifts and epistemological ruptures; interdisciplinary approaches, technoscience and the crisis of humanist studies; and global art history, interculturality and art geographies. A keynote address by Mechthild Fend, professor of history of art, University College London, will  investigate the theme of medical pathology in relation to the crises of the French Revolution.

More information is available at:

Association of Art Museum Curators

Know a curator who is creating groundbreaking new work?

Nominate them for Association of Art Museum Curators’ Awards for Excellence, the annual prize dedicated to recognizing both affiliated and independent curators whose work offers new methodologies, considers the public’s understanding, and advances the field. Since their launch in 2004, nearly 200 curators have received an award from AAMC. Click here to view past Awards for Excellence recipients.

Only affiliated and independent curator(s) working in the nonprofit sector can receive an award. All nominations must be submitted by AAMC members in good standing. Those in other fields and in for-profit settings cannot be nominated. Self-nominations are welcome, encouraged, and will receive the same consideration as other nominations.

A nominator may submit more than one nomination in one or more of the following categories for work on view or published between January 1 and December 31, 2019:

  • Printed Exhibition or Permanent Collection Catalogue
  • Exhibition or Installation
  • Article or Essay (digital or print)
  • Digital Publication

Awardees are kept confidential until they are announced at the Annual Conference & Meeting during an Awards for Excellence reception on Sunday, May 3, 2020, in Seattle, Washington, USA. We hope that all Awardees will be able to join us at the event. Ability to attend the event does not influence the award selection process.

All nominations must be submitted through our online portal by 12PM ET on Monday, December 2. The deadline is fast approaching, so click here to submit your nomination today!

Foundations in Art: Theory and Education (FATE)

Foundations in Art: Theory and Education is thrilled to announce that University of North Carolina Charlotte will host our 18th Biennial Conference! Mark your calendars for April 1-3, 2021 and make plans to be there.




Filed under: Affiliated Societies

News from the Art and Academic Worlds

posted by CAA — Nov 06, 2019

A major brush fire broke out in the early morning hours of October 28, 2019, and consumed over 600 acres to the north and west of the Getty Center. Photo courtesy the Getty Blog.

Why the Getty Center Is the Safest Place for Art During a Fire

Opened in 1997, the Getty Center is a marvel of anti-fire engineering. (Getty Blog)

Bristol University Appoints History of Slavery Professor

Professor Olivette Otele—who in 2018 became the UK’s first black female history professor—will take up the new role in January. (BBC)

Are You an Aspiring Arts Critic? The New York Times Is Launching a Paid Fellowship Program

The paper has launched a one-year fellowship “to help train the next generation of fine arts critics.” (artnet News)

Hampshire College Scraps Majors, Sets Sights on ‘Pressing Issues of Our Time’

The liberal arts college has announced a new curriculum model centered on issues like climate change, artificial intelligence, and social inequity. (Education Dive)


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Filed under: CAA News

CWA Picks for November 2019

posted by CAA — Nov 05, 2019

CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship to share with CAA members on a monthly basis. See the picks for November below.

Alice Miceli: Projeto Chernobyl

Americas Society/Council of the Americas, New York, New York
October 9, 2019 – January 25, 2020

Alice Miceli (born in Rio de Janeiro in Brazil) works with time-based tools, such as video or still camera, which she uses to produce works focused on time manipulated through mathematical formulas in order to represent its complex relationship with history and the body. Projeto Chernobyl (2006-2010), included in the 29th Bienal de São Paulo in 2010, includes a series of radiographs documenting the effects of Chernobyl’s nuclear disaster following the Soviet nuclear plant explosion of April 26th, 1986. Apart from formal experimentation core to her artistic methodology, Miceli uses investigative travel and archival research to explore trauma inflicted on social, cultural, and natural landscapes. For the purpose of this project she developed a specific photographic processes that capture contamination caused by gamma radiation, invisible to the naked eye and to traditional methods of photography. Her radiographic technique makes the destructive radioactive contamination visible raising issues around the occupation of land but also the act of looking itself—how to look and by what means. Miceli’s work questions ways in which our bodies are affected in a biopolitical manner, and how they are militarized and economized in contemporary society.

Home Is Where the Heart Is

5th edition of Contemporary Art Program 2019 at Culture palace Ziemeļblāzma, Riga, Latvia
October 20 – December 12, 2019

Curated by Jana Kukaine, a feminist scholar from Riga, Latvia, the title of the exhibition references both a Latvian traditional folk song, executed during national celebrations of Mother’s Day in Latvia and Elvis Presley’s song Home Is Where the Heart Is. These cultural references present the home as a place of comfort and belonging. Yet, the utopian vision of home is disturbed by the still existing gender imbalance concerning responsibilities in the making of a home. It is usually the woman, often labeled a domestic goddess, who looks after the home. Six Latvian women artists, Anda Magone, Elīna Brasliņa, Eva Vēvere, Katrīna Gaile, Mētra Saberova, and Rasa Jansone, in their works presented in the exhibition (one of the events of the centenary program of the Latvian State) challenge the widespread gendered ideology of domesticity while raising issues concerning unpaid labor, social reproduction, and affective care. Home is associated with a number of rituals, objects, values, practices, duties, and responsibilities, inscribed into the division of the public and the private and the oppressive mapping onto gender roles. Social reproduction and sexual normativity is contextualized by the artists within neoliberal and late-capitalist frameworks to question and call for a shared responsibility in creating a home.

Works by Maya Lin, Jenny Holzer, and Ann Hamilton, on view at the Wexner Center for the Arts through December 29th.

HERE: Ann Hamilton, Jenny Holzer, Maya Lin

Wexner Center for the Arts, Columbus, Ohio
September 21 – December 29, 2019

Three Ohio-born visual artists exhibit together for the first time in HERE: Ann Hamilton, Jenny Holzer and Maya Lin at the Wexner Center for the Arts. The artists’ disparate styles and perspectives shown together create new connections and conversations between art, space, methodology, and the questions each of them pose through their work. Hamilton presents when an object reaches for your hand, using outmoded scanners creating ethereal images from Columbus campus special collections juxtaposed with her personal objects. The images are presented in book form stacks and visitors are welcome to take a print; two of the images are also large-scale murals in Columbus; both projects encouraging accessibility for university archives. Holzer presents a new installation of her renowned commonly-held slogan posters, Truisms (1977-79) and Inflammatory Essays (1979-82), statements influenced by diverse manifestos. Holzer’s vocabulary is screened throughout the city to further the impact of her work outside the gallery, too. Lin’s site specific installations were created with thousands of steel pins and glass beads resembling Ohio waterways, considering how rivers have both shaped and been shaped by humans, and questioning the impact of fracking and global warming. Lin’s permanent work, Groundswell (1992-93) greets visitors as they enter the Center, inspired by Native American mound landscapes from her youth. The accompanying gallery guide includes essays from writers, curators, and educators with Ohio connections, further contextualizing the far-reaching exhibit.


Mary H. Dana Women Artists Series Galleries, Douglass Library, New Brunswick, New Jersey
September 3 – December 13, 2019

Curated by art historian and curator Tatiana Flores, Sea and Self presents artworks produced by Maria Magdalena Campos-Pons (b. 1959, Matanzas, Cuba) from the late 1960s to present, ruminating on the sea. Campos-Pons draws on the rich Caribbean tradition of sea image while exploring self and the female body. Depictions in works such as She Always Knew of the Space In-Between (2019), include silhouette drawings of African sculptures, referencing female gender; and Nesting IV (2000), four large-scale Polaroids depicting the artist as split by the sea, connect through her uniting hair. Intersecting environmental humanities, personal history, and gender in beautiful, multi-colored and mixed media, Campos-Pons’ work exudes a unique and relatable perspective, provoking new inquiries around feminism and art.

Filed under: CWA Picks

Brian Harper and Samuel Johnson

posted by CAA — Nov 04, 2019

The weekly CAA Conversations Podcast continues the vibrant discussions initiated at our Annual Conference. Listen in each week as educators explore arts and pedagogy, tackling everything from the day-to-day grind to the big, universal questions of the field.

CAA podcasts are on iTunes. Click here to subscribe.

This week, Brian Harper and Samuel Johnson discuss “Building for the Greater Good: Artaxis Organization.”

Brian Harper is the founder and executive director of Artaxis, a non-profit arts organization, and associate professor and Head of Ceramics at Indiana University Southeast.

Samuel Johnson is a visual artist working in ceramics and oil. He’s on the Advisory Board of Artaxis, is a professor of art at the College of St. Benedict and St. John’s University, and is a great admirer of a Brian Harper, who is the real brains behind the organization.

Filed under: CAA Conversations, Podcast