CAA News Today
CAA113 CAA-Getty International Program Participants Announced!
posted Dec 11, 2024
The CAA-Getty International Program will welcome eight new scholars and four program alumni to the CAA 113th Annual Conference!
Now in its thirteenth year, this program brings a cohort of art historians, museum curators, and other visual arts professionals from around the globe to the CAA Annual Conference to connect with a selection of former participants at a preconference colloquium and alumni session, which examine topics such as historiographies, interdisciplinary and transnational methodologies, decolonizing museums, and other pressing issues in the field.
The 2025 preconference colloquium will be led by special guest Clement Akpang.
Read more about the 2025 program participants below, visit our website to learn more about the first ten years of the CAA-Getty International Program, and register for CAA113!
2025 PARTICIPANTS
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Aida Bičakčić and obtained her degree in art history from the Faculty of Philosophy at the University of Sarajevo in 2008. From 2009 to 2023 she has held the positions of advisor for movable heritage, and later advisor for art history at the Commission to Preserve National Monuments of Bosnia and Herzegovina, for which she was involved in numerous research projects that resulted in designating cultural assets as National Monuments of Bosnia and Herzegovina. Starting in April 2023 she continued her career as the head of the collection at Ars Aevi, Sarajevo, curating a traveling exhibition of the collection, Sol LeWitt at KRAK Center for Contemporary Culture, and the Ars Aevi Video Art project, while also acting as jury member for a competition for young artists. In 2022, she began her PhD at Faculty of Humanities, Zagreb University, with a focus on history of conservation with the thesis “Protection of Architectural Heritage in the People’s Republic of Bosnia and Herzegovina between 1945 and 1960.” |
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Inesa Brašiškė is a Vilnius-based art historian and curator. She holds an MA from the Modern and Contemporary Art: Critical and Curatorial Studies program (MODA) at Columbia University. Her curatorial practice spans multiple institutions including the National Gallery of Art (Vilnius), Contemporary Art Centre (CAC, Vilnius), e-flux screening room, and Art in General. Following a decade of independent curatorial work, she now serves as head of research at the Sapieha Palace, a CAC branch, where she curates contemporary art exhibitions, directs a monthly artists’ film program, and organizes an annual symposium.Brašiškė’s academic research focuses on conceptual art and displacement, artistic labor, feminist art history writing in Eastern Europe, and avant-garde cinema and feminist screen cultures since the 1960s. Brašiškė’s recent scholarship reconsiders abstract painting through feminist histories of making, examines the critical potential of blurring, and explores artistic and curatorial engagements with archives in the Baltics.Her writing has appeared in MoMA’s C-MAP and Mousse as well as in numerous exhibition catalogs and books.Brašiškėwas nominated for the ICI Curatorial Award in 2014. Her research has been supported by the Getty Library Research Grant, the Paul Mellon Centre Grant, and the AWARE Research Residency. |
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Conan Cheong is a PhD candidate in art history and archaeology at SOAS University of London, holding an MA from the same department. His doctoral research, centering on the personal collections of Buddhist monks in Laos of historical photographs and objects. investigates how Buddhist communities conceptualize the self through material practices of memory, memorialization, and representation. He is curatorial advisor for the Museum of Buddhist Art in Vat Saen Sukharam, Luang Prabang (opening in 2026). As curator at the Asian Civilizations Museum, Singapore, from 2016–23, he worked to develop collaborative relationships with source and use communities, and in the exhibition Body and Spirit: The Human Body in Thought and Practice(2022–23). He is a member of Circumambulating Objects: On Paradigms of Restitution of Southeast Asian Art (CO-OP). |
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Goomaral Dalkh-Ochir is an art historian at the Fine Arts Zanabazar Museum in Ulan Bator, where her research focuses on the history of Mongolian fine art and the study of Mongolian Buddhist art. She completed her bachelor’s and master’s programs in art studies at the National University of Mongolia, focusing on the topic of Zanabazar art, and she is currently pursuing a doctoral program. From 2014–16, she served as a lecturer in medieval art history at the Mongolian National University of Arts and Culture. Since 2014, she has compiled five catalogs that explore the history of Mongolian Buddhist art. She was a coauthor of the book Unique Masterpieces(2018). Since 2017, she has been a member of the Museum and Collection of fine Arts Committee of the International Council of Museums. |
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Jing Liu is an assistant professor at the Sichuan Fine Arts Institute, China. She received her PhD in art history from Peking University with a dissertation on religious art in southwest China from the tenth to thirteenth centuries. Building on this work, she published The Transformation and Creation of Images: A Study of Guardian Deities of the Song Dynasty in Dazu and Anyue, Sichuan (2024). She is currently working on a new book about natural aesthetics in Chinese landscape painting. Recently, her academic focus has expanded to explore the relationship between cultural heritage and community, including a project examining how patrons, tourists, and pilgrims have interacted with Buddhist carvings over time. As a curator at the Ptolemy Museum in Hong Kong, she is also interested in the spread of Western astronomical imagery in modern China, drawing insights from the museum’s collections. |
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Nadia Martin is an assistant researcher at the National Scientific and Technical Research Council of Argentina (CONICET), currently on a postdoctoral fellowship granted by the same institution until her appointment is formalized. She holds a PhD in comparative theory of the arts (CONICET-UNTREF), a master’s degree in visual arts curating (UNTREF), and a bachelor’s degree in communication sciences (UBA). Her research focuses on body, territorial, and techno-scientific imaginaries in contemporary artistic practices, with an emphasis on Latin America. It is framed by perspectives at the intersections of feminisms, new materialisms, and critical posthumanisms. She is involved in the PIP-CONICET and PICT-AGENCIA research projects. Among other distinctions, she is the recipient of the Goethe-Fellowshipat documenta Archiv, the ZUKOnnect Fellowship, and support from the Casa de Velázquez (Madrid). She teaches undergraduate and graduate courses at UNTREF and undergraduate courses at UBA. She is founder and manager of the ENROQUE art-in-territory project. |
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Oksana Remeniakais a chief of department of sociocultural art studies at the Modern Art Research Institute of the National Academy of Arts of Ukraine (Kyiv). She is the author of books and numerous articles on art history and culture. Dr. Remeniaka was a Fulbright Research Scholar, conducting research at Columbia University’s Harriman Institute with the project (2019–20). Dr. Remeniaka is an expert in cultural processes of Polish-Ukrainian borderland, Ukrainian culture at the turn of the nineteenth century, diaspora visual arts of the interwar and postwar periods, and wartime Ukrainian modern art. She is the author of of numerous texts for modern art exhibits and projects in various Ukrainian museums and galleries, including A Chronicle of Inspiration in a Fierce Time (2023), Art in Times of Plague with a virtual catalog of artists’ works from Ukraine, Poland, the United States, Italy, and Georgia (2020). |
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Lucía Stubrin holds a PhD in history and theory of the arts from theUniversidad de Buenos Airesand is a research professor at theUniversidad Nacional de Entre Ríos(Argentina). She directs research projects within the framework of the Grupo de Estudio Biosemiótica, Arte y Técnica(GEBAT), and is an independent curator specialized in technopoetics. She is the author ofBioarte. Poéticas de lo viviente(2020, Eudeba/Ediciones UNL). Since 2010, she has received national (CONICET) and international (Getty Foundation, European Commission Erasmus Mundus, Fundación Carolina, AUGM) doctoral and postdoctoral grants for her research in the field of art-science-technology with emphasis on life sciences and bioart. Since 2023 she has been a research fellow at the Universidad de Barcelona. |
ALUMNI PARTICIPANTS
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Sarena Abdullah, PhD, is an associate professor of art history at Universiti Sains Malaysia. She received the prestigious London, Asia research award in 2017. Additionally, she participated in the CAA-Getty International Program in 2016 and was part of alumni panels in 2017 and 2019.Abdullah is the author ofMalaysian Art since the 1990s: Postmodern Situation(2018) andSeni Lukis di Malaysia sejak Tahun 1990–an: Situasi Pascamoden(2023) and coeditedAmbitious Alignments: New Histories of Southeast Asian Art 1945–1990(2018). Her extensive writings on Malaysian art are featured in renowned academic journals including TRaNS, Southeast of Now, and Wacana Seni, among others. She was the editor of Berita, a bulletin affiliated with the Malaysia, Singapore, Brunei (MSB) Studies group under the Association of Asian Studies (AAS) (2022–24). She is the current Chair of CAA’S International Committee. |
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Georgina G. Gluzman is a researcher at the Consejo Nacional de Investigaciones Científicas y Técnicas in Argentina. She is also an assistant professor of art history and gender studies at the Universidad de San Andrés in Buenos Aires. She received her PhD from the Universidad de Buenos Aires in 2015, having previously received an undergraduate degree in art history and a teaching certification. Her work focuses mainly on the art of nineteenth- and early twentieth-century Argentine women artists. She is the author of Trazos invisibles: Mujeres artistas en Buenos Aires (1890–1923) (2016). She has served as a guest curator and curatorial adviser at various institutions. Her research has been supported by the Getty Foundation and the Institut National d’Histoire de l’Art, among others. In 2023, she was a fellow at the Madrid Institute of Advanced Studies and the German Center for Art History (DFK) in France, undertaking a project on world’s fairs. |
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Iro Katsaridou is an art historian and museum studies scholar, and assistant professor at the School of Visual and Applied Arts, Aristotle University of Thessaloniki, Greece. Previously she was director of the MOMus-Thessaloniki Museum of Photography (2021–24), and curator at the Museum of Byzantine Culture of Thessaloniki (2005–21). Iro has curated exhibitions of historical and contemporary photography, coordinated the international photography festival Thessaloniki PhotoBiennale 2023 at MOMus, and was a member of the Organizing Committee for the 5th Fast Forward Women in Photography conference (Thessaloniki, 2024). Currently she serves as a coinvestigator in the UK’s Arts and Humanities Research Counci–l (AHRC)funded Museum Dialogues program (2004–25) of the University of Sunderland. Iro has published on photography, socially engaged art history, and curatorial practices. Recently, she coedited with Eve Kalyva and Pamela Bianchi the collective volume Museums and Entrepreneurship. The Effects of Capitalising on Culture in the 21st Century (2024). |
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Ali Mahfouz is a cultural heritage consultant at King Abdullah University of Science and Technology’s (KAUST) FalconViz program with over twelve years experience in site and museum management. He began his career in 2012 as an archaeologist with Egypt’s Ministry of Antiquities and later served as director of the Mansoura Storage Museum from 2018–23. His expertise includes heritage and museum management, cultural heritage documentation, and the impact of conflict on art and heritage. Ali holds bachelor’s, postgraduate, and master’s degrees in archaeology and is pursuing a PhD. Throughout his career, Ali has contributed to the field with four published articles and a book. He has served as a jury member for international conferences such as ICOM-ICME in Azerbaijan, Prague, and Mexico. In 2021, he cofounded the Egypt Heritage Association and is a board member of the Egyptian National Committee of ICOM (2021–5). His research focuses on archaeology, decolonization, heritage conservation, and documentation technologies. |
This program is made possible with support from Getty through its Connecting Art Histories initiative.
CAA 2025 Board of Directors Election: Vote Now!
posted Dec 11, 2024
As a CAA member, voting is the best way to shape the future of your professional association. Thank you for taking the time to vote!
The CAA Board of Directors is comprised of professionals in the visual arts who are elected annually by the membership to serve four-year terms (or, in the case of Emerging Professional Directors, two-year terms). The Board is charged with the long-term financial stability and strategic direction of CAA; it is also the Association’s governing body. The Board sets policy regarding all aspects of CAA activities, including publishing, the Annual Conference, awards and fellowships, advocacy, and committee procedures. For more information, please read the CAA By-laws on Nominations, Elections, and Appointments.
MEET THE CANDIDATES
The 2024–25 Nominating Committee has selected the following candidates for election to the CAA Board of Directors. Click the names of the candidates below to read their personal statements and CVs before casting your vote.
BOARD OF DIRECTOR CANDIDATES (FOUR-YEAR TERM, 2025–29)
Assistant Professor of Graphic Design and Interactive Arts
University of Wisconsin (Madison, WI)
Associate Professor of Architectural History and Theory
Vanderbilt University (Nashville, TN)
Executive Director
Estate of David Smith (New York, NY)
Organizational Leadership Scholar
Columbia University (New York, NY)
Art History Lead Faculty
Berkeley City College (Berkeley, CA)
Principle Research Specialist for Digital Art History
Getty Research Institute (Los Angeles, CA)
EMERGING PROFESSIONALS BOARD OF DIRECTOR CANDIDATES (TWO-YEAR TERM, 2025–27)
PhD Candidate
UC Santa Cruz (Santa Cruz, CA)
Marketing and Communications Coordinator
Modern Art Museum of Fort Worth (Fort Worth, TX)
CAA members must cast their votes online. The deadline for voting is 5 p.m. ET on Thursday, February 13, 2025.
Elected individuals will be announced at the CAA Annual Business Meeting on Friday, February 14, 12:00–2:00 p.m. ET.
Questions? Contact Maeghan Donohue, CAA Director of Strategic Planning, Diversity, and Governance.
CAA113 Annual Artist Interviews Announced!
posted Dec 06, 2024
Wendy Red Star (photograph by John D. and Catherine T. MacArthur Foundation) and Martha Rosler (photograph by Tina Barney)
CAA is thrilled to share that artists Wendy Red Star and Martha Rosler will be the featured guests of the CAA 113th Annual Conference Annual Artist Interviews! Red Star will be interviewed by Josh T Franco, head of collecting, Archives of American Art, and Charlotte Ickes, curator of time-based media art and special projects, National Portrait Gallery. Columbia University professor of art history and archaeology Julia Bryan-Wilson will speak with Rosler.
Wendy Red Star
Wendy Red Star is an Apsáalooke artist based in Portland, OR, whose multidisciplinary practice explores intersections of Apsáalooke history and colonial narratives through conceptual art and pop culture. Raised in Apsáalooke traditions, she uses her work to reframe historical narratives and amplify Apsáalooke perspectives.
Red Star’s work has been exhibited at major institutions, including the Metropolitan Museum of Art, the Broad, Fondation Cartier, and the Seattle Art Museum. Her monumental sculpture, The Soil You See . . ., debuted on the National Mall in Washington, DC, in 2023, and was later acquired by Tippet Rise Art Center.
Her work is in over eighty public collections, including the Museum of Modern Art, the Whitney Museum of American Art, and the British Museum. A 2024 MacArthur Fellow, Red Star’s artist’s books include Delegation (2022) and Bíilukaa (2023). She holds an MFA from UCLA and has lectured internationally, including at Yale University and the Banff Centre.
Martha Rosler
Martha Rosler’s work centers on the public sphere and everyday life, particularly with respect to women. Recurring themes include food in its many roles and guises, urbanism and spaces of transit, and war and national security. She has initiated a number of events in the US and Europe that bridge diverse publics, including garage sales, pop-up libraries, and a long-standing collaborative project that explores homelessness, housing, and the built environment. Through her varied artistic practice, writing, and activism, she challenges the mechanisms of power and their normalization within imagery, narrative, and discourse.
She has received numerous honors, including the Anonymous Was a Woman Award, the College Art Association Distinguished Feminist Award, the Women’s Caucus for Art Lifetime Achievement Award, the Oskar Kokoschka Prize, the Spectrum International Prize in Photography, the Guggenheim Museum Lifetime Achievement Award, the Asher B. Durand Award, the Lichtwark Prize, and four doctorates Honoris Causa.
Rosler lives in Greenpoint, Brooklyn, whose decades of gentrification have often figured in her work.
The CAA113 Annual Artist Interviews will be held on Friday, February 14, 4:30–7:00 p.m. ET at the New York Hilton Midtown. This event will also be livestreamed via YouTube.
Register now for the CAA 113th Annual Conference, February 12–15, 2025 in New York City!
Arts Council of the African Studies Association Releases Best Practice Guidelines for Provenance Research and Restitution
posted Dec 04, 2024
In response to the increasingly pressing need to address principled and fair stewardship in institutions, ACASA has released new Guidelines for Provenance Research and Restitution. CAA acknowledges the critical need for this document and supports ACASA’s efforts.
From ACASA’s December 2 press release:
The new resource, the first-ever for museums in the United States, emphasizes collaboration and communication with Africa-based peers, descendant communities, and other knowledge-holding constituents in assessing and determining the futures of collections. Developed with support from the Mellon Foundation, this foundational document is publicly accessible and recommended for sharing with all U.S. collecting institutions.
The guidelines were developed over a three-year period by a working group of over seventy specialists from the United States, Africa, and Europe. The initiative began in 2021 and was informed by ongoing dialogue with Africa-based institutions, professionals, and community members. The final document, ratified by ACASA in August 2024, encourages museums to uphold their ethical responsibilities in their stewardship of African objects, in addition to any legal requirements. This includes promptly responding to return concerns and claims. It also recommends that U.S. museums demonstrate an institutional commitment to:
- transparency regarding collection holdings and information about object histories
- working with interested parties on the African continent on collaborations, including
- returns, within this field-wide framework of accepted practice
- prioritizing research on collection holdings
- disseminating information about African arts collections in accordance with ethical computing standards
ACASA is a U.S.-based professional organization, with over 1,800 members worldwide. For more than four decades, ACASA has championed African arts scholarship, connecting artists, researchers, curators and collections on the African continent, in North America, Europe and beyond. For more information about ACASA and how to join, visit acasaonline.org.
Notice of the CAA 113th Annual Business Meeting
posted Nov 26, 2024
CAA Annual Business Meeting
Friday, February 14, 2025
12:00 p.m. ET
The 113th Annual Business Meeting of the members of the College Art Association will be called to order at 12:00 p.m. ET on Friday, February 14, 2025, at the New York Hilton Midtown. Access to this meeting is included in paid and no-cost registration. Once registered, please log into the online conference schedule to view more details about this meeting. CAA President, Dr. Denise Baxter will preside.
AGENDA
- Welcome + Call to Order – Denise Baxter, CAA Board President
- Executive Director Report – Meme Omogbai, CAA Executive Director + CEO
- Approval of 112th Annual Business Meeting Minutes [ACTION ITEM]
- Financial Report – Anthony Crisafulli, CAA Treasurer
- Old/New Business
- Board Election Results – Denise Baxter, CAA Board President
- Adjourn
SPECIAL DISCUSSION
Immediately following the CAA 113th Annual Business Meeting, Robert B. Townsend, Director of Humanities, Arts, and Culture Programs and Codirector of Humanities Indicators at the American Academy of Arts and Sciences, will lead a discussion on the state of the field based on the Mellon Foundation-funded Arts and Humanities national survey of department chairs in each discipline.
BOARD VOTING
The 2025 Board of Directors slate will be announced in December 2024 along with an online voting form. Please submit your voting form for the 2025 election no later than 5:00 p.m. ET on Thursday, February 13, 2025.
NEXT MEETING–2026
The 114th Annual Business Meeting of the College Art Association will be held in February 2026 at the Hilton Chicago during the CAA Annual Conference; precise date and time to be announced.
Jack Flam Named CAA113 Distinguished Scholar
posted Nov 21, 2024
The Distinguished Scholar Session at the CAA 113th Annual Conference will honor the career of Dr. Jack Flam, explore the broad range of Dr. Flam’s scholarly interests, and celebrate his ongoing legacy of support and amplification of innovative voices in the field.
Dr. Flam is Distinguished Professor Emeritus of Art and Art History at Brooklyn College and the Graduate Center, City University of New York, where he taught from 1975–2010. Dr. Flam was also President of the Dedalus Foundation from 2002–24.
His career in education took hold at Rutgers University and the University of Florida, and he subsequently taught a wide range of courses at CUNY, where he was mentor to many students, both undergraduate and graduate, in studio art as well as art history. In addition to serving as a dissertation and thesis advisor, he continues to steadfastly support the professional lives of his former students.
Dr. Flam is the author of several books, articles, and exhibition catalogs on various aspects of nineteenth- and twentieth-century art, and on African art. He is a leading authority on Henri Matisse, and his influential book Matisse on Art has been in print since its publication in 1973. His Matisse: The Man and His Art, 1869–1918 received CAA’s Charles Rufus Morey Award in 1988. Dr. Flam’s other books include Motherwell (1991); Richard Diebenkorn: Ocean Park (1992); Matisse: The Dance (1993); Western Artists/African Art (1994); Matisse and Picasso: The Story of Their Rivalry and Friendship (2003); Manet: Un bar aux Folies-Bergère ou l’abysse du mirror (2005). He has written extensively on postwar American art, especially on Robert Motherwell. He is coauthor of Robert Motherwell Paintings and Collages: A Catalogue Raisonné, 1941–1991 (2012) and of Robert Motherwell: 100 Years (2015).
He is the series editor of the Documents of Twentieth-Century Art (currently published by the University of California Press) and in addition to Matisse on Art, has edited two volumes for it: Robert Smithson: The Collected Writings (1996) and Primitivism and Twentieth-Century Art (2003). He has served on a number of juries, committees, and boards focused on supporting artists and art historians, including the advisory board of Source: Notes in the History of Art and the board of directors of the United States section of the International Association of Art Critics. Dr. Flam was also the art critic of the Wall Street Journal from 1984–92.
He has been the recipient of several awards and honors, including fellowships from the John Simon Guggenheim Memorial Foundation and the National Endowment for the Humanities. He won the Art World Manufacturers Hanover Prize for Distinguished Newspaper Criticism in 1987.
His articles and reviews have appeared widely, including in African Arts, American Heritage, Apollo, The Art Bulletin, Artforum, Art in America, Art International, Art Journal, ARTnews, Connaissance des Arts, Arts Magazine, Connoisseur, Journal of African Studies, Journal de la Société des Africanistes, Leonardo, New York Review of Books, Storia dell’Arte, The Sciences, Source, and the Times Literary Supplement.
Dr. Flam’s career and his impact on the field will be celebrated with presentations and a dialogue with scholars and colleagues:
Session Chair:
Lisa Farrington, John Jay College of Criminal Justice, City University of New York
Session Participants:
Deborah Cullen-Morales, Mellon Foundation
Jennifer Farrell, Metropolitan Museum of Art
Julie Reiss, Columbia University
Nari Ward, Hunter College, City University of New York
John Yau, Rutgers University
Register now for the CAA 113th Annual Conference, February 12–15, 2025, in New York City!
The CAA113 Distinguished Scholar Session will be held on Thursday, February 13, 4:30–6:30 p.m. ET at the New York Hilton Midtown. This event will also be livestreamed via YouTube.
Announcing the 2025 Morey Book Award and Barr Awards Shortlists
posted Nov 18, 2024
Finalists for the Charles Rufus Morey Book Award and the Alfred H. Barr Jr. Awards have been announced. The winners, alongside recipients of other Awards for Distinction, will be named in January 2025 and presented on Wednesday, February 12, during Convocation at the CAA 113th Annual Conference, in New York City. Congratulations to all of the finalists!
Charles Rufus Morey Book Award Shortlist
Named in honor of one of the founding members of CAA and first teachers of art history in the United States, the Charles Rufus Morey Book Award was established in 1953 to recognize an especially distinguished English-language book in the history of art.
Camera Geologica: An Elemental History of Photography by Siobhan Angus (Duke University Press, 2024)
Grief Made Marble: Funerary Sculpture in Classical Athens by Seth Estrin (Yale University Press, 2023)
Not Native American Art: Fakes, Replicas, and Invented Traditions by Janet Catherine Berlo (University of Washington Press, 2023)
Pearls for the Crown: Art, Nature, and Race in the Age of Spanish Expansion by Mónica Domínguez Torres (Penn State University Press, 2024)
Risk Work: Making Art and Guerrilla Tactics in Punitive America, 1967–1987 by Faye Raquel Gleisser (University of Chicago Press, 2024)
Alfred H. Barr Jr. Award Shortlist
Named for the founding director of the Museum of Modern Art and a scholar of early-twentieth-century painting, the Alfred H. Barr Jr. Award is presented to the author or authors of an especially distinguished catalogue in the history of art, published in English by a museum, library, or collection.
Brilliant Exiles: American Women in Paris, 1900–1939, edited by Robyn Asleson (The National Portrait Gallery, Smithsonian Institution/Yale University Press, 2024)
Camille Claudel, edited by Emerson Bowyer and Anne-Lise Desmas (J. Paul Getty Museum/The Art Institute of Chicago, 2023)
The Harlem Renaissance and Transatlantic Modernism, edited by Denise Murrell (The Metropolitan Museum of Art, 2024)
Mark Rothko: Paintings on Paper by Adam Greenhalgh (Yale University Press, 2023)
Woven Histories: Textiles and Modern Abstraction, edited by Lynne Cooke (The University of Chicago Press, 2023)
Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions Shortlist
Established in 2009, the Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions is presented to the author(s) of catalogues produced by an institution with an operating budget of less than $10 million.
A Model Workshop: Margaret Lowengrund and The Contemporaries, edited by Lauren Rosenblum and Christina Weyl (Print Center New York/Hirmer, 2023)
Never Broken: Visualizing Lenape Histories, edited by Joe Baker and Laura Igoe (James A. Michener Art Museum/University of Pennsylvania Press, 2024)
Younes Rahmoun: Here, Now, edited by Emma Chubb, Omar Berrada, Alexandra Keller, Fatima-Zahra Lakrissa, et al. (Smith College Museum of Art/Zamân Books & Curating/Kunsthalle Mulhouse/Kulte Editions, 2024)
Mariët Westermann, Director and CEO of the Solomon R. Guggenheim Museum and Foundation, to deliver CAA113 Convocation Keynote Address
posted Nov 13, 2024
We are delighted to announce that Dr. Mariët Westermann, Director and CEO of the Solomon R. Guggenheim Museum and Foundation, will deliver the Convocation keynote address at the CAA 113th Annual Conference!
As Director and CEO of the Solomon R. Guggenheim Museum and Foundation, Dr. Westermann directs the Guggenheim’s flagship in New York and oversees the Guggenheim sites in Venice, Bilbao, and Abu Dhabi. Previously, Dr. Westermann was founding Provost at NYU Abu Dhabi, and later Vice Chancellor and Chief Executive. She has also served as Executive Vice President of the Mellon Foundation and Director of NYU’s Institute of Fine Arts.
A historian of art of the Netherlands, Dr. Westermann has authored numerous books, articles, and exhibition essays on Dutch art and artists, museums, and the state and future of higher education. On behalf of the Mellon Foundation, Dr. Westermann commissioned and published (with Roger Schonfeld and Liam Sweeney) two critical research studies on staff diversity in the museum sector.
Dr. Westermann was the lead curator and catalogue author of the exhibition Art and Home: Dutch Interiors in the Age of Rembrandt, shown at the Denver Art Museum and The Newark Museum (1997–2001). She served as curatorial consultant, researcher, and essayist for the National Gallery’s presentation of Jan Steen: Painter and Storyteller (1994–96), in partnership with the Rijksmuseum, Amsterdam.
In 2020, Dr. Westermann co-convened Reframing Museums, a major international conference on the future of museums, organized with NYU Abu Dhabi and Louvre Abu Dhabi. In 2010, on behalf of the NYU Abu Dhabi Institute, she co-hosted Art Museums Here and Now, a conference with Philippe de Montebello on what it means to build art museums in countries that have not had them or reinvent traditional art museums to stay connected to their changing societies.
Dr. Westermann is a trustee of ALIPH and the Rijksmuseum and chairs the IIE Scholar Rescue Fund.
Join us for the CAA 113th Annual Conference, February 12–15, at the New York Hilton Midtown! Convocation will be held on February 12, 6:00–8:30 p.m. ET and will also be livestreamed via YouTube. Register now!
Register for CAA113 New York City Gallery Tours!
posted Oct 21, 2024
Join art critic, writer, and expert gallery guide Merrily Kerr for walking tours of select Chelsea and Tribeca galleries during the CAA113th Annual Conference in February 2025. Registrants can visit six or seven of the season’s most notable shows on one of four different tours.
Space is limited, so register now using the links below! The cost to register for each tour is $40.00.
Walking Tour Schedule
- Chelsea: Wednesday, February 12, 12:30–3:00 p.m. ET
- Chelsea: Thursday, February 13, 12:30–3:00 p.m. ET
- Tribeca: Friday, February 14, 12:30–3:00 p.m. ET
- Chelsea: Saturday, February 15, 2:00–4:30 p.m. ET
Additional Information
Registrants will meet at their designated tour start time at the main entrance of the New York Hilton Midtown lobby.
In addition to the $40.00 registration fee, registrants should be prepared to spend an additional $5.80 on round-trip transportation via subway from the hotel to the galleries. Registrants can tap a contactless credit or debit card or a smartphone to pay for travel at the subway turnstile.
Tours will take place regardless of weather conditions.
Please contact Merrily Kerr directly with questions.
CWA Picks: Fall 2024
posted Sep 23, 2024
Cheryl Pagurek, Winter Garden interactive digital collage, 2023
The exhibitions and other events selected for the Committee on Women in the Arts (CWA) Fall Picks highlight the multitude of technologies–old and new–that artists have used to bring attention to overlooked communities including fellow creatives: groups sidelined for reasons of race, region, gender, sexuality, and other marginalizing factors and non-human entities with whom we share space.
UNITED STATES
Consuelo Kanaga: Catch the Spirit
September 28–February 9
SFMOMA, San Francisco, CA
Consuelo Kanaga: Catch the Spirit presents the first West Coast retrospective on the work of this critical yet overlooked figure in the history of modern photography. Over the course of six decades, Kanaga championed the artistic value of photography and documented urgent social issues, from urban poverty and labor rights to racial terror and inequality. Her work remains as relevant today as it was during her own lifetime. Organized from the collection of the Brooklyn Museum, this exhibition charts the artist’s vision, which spans pathbreaking photojournalism, modernist still lifes, and celebrated portraits of Black Americans.
Dissident Sisters: Bev Grant and Feminist Activism, 1968-72
Through December 1
The Block Museum, Northwestern University, Evanston, IL
In 2023, the Block Museum acquired a group of photographs by folk musician and photographer Bev Grant. In the late 1960s and early 70s, Grant participated in and photographed left-wing and radical protests in and around New York City. She was a member of the group New York Radical Women and documented events associated with the group, as well as the Moratorium on the Vietnam War and other anti-war protests, pro-abortion rallies, and the Miss America Pageant protest. Her work presents a view of events reflecting broad political engagement and social justice demonstrations that defined the late 1960s and 70s in the US.
Elizabeth Catlett: A Black Revolutionary Artist and All That It Implies
Through January 19
Brooklyn Museum, NYC
Prolific Black social realist printmaker, sculptor, and painter Elizabeth Catlett (1915–2012), who was born in Washington, DC, but worked primarily in Mexico, devoted her oeuvre and activism to uplifting the Black and Mexican women and other working-class individuals who so often formed her subjects. The Brooklyn Museum show includes more than 150 works by Catlett.
Ja’Tovia Gary: The Giverny Suite
Through December 7
The Block Museum, Northwestern University, Evanston, IL
Ja’Tovia Gary uses documentary film and experimental video to address representation, race, gender, sexuality, and violence. Gary was at the Terra Foundation for American Art’s residency program in Giverny, France during the summer of 2016 when several widely-publicized police-involved killings of African Americans took place in the United States. An immersive, three-channel film installation, The Giverny Suite, (2019) centers the voices and bodies of Black women in an experimental film essay that is a meditation on the interconnected themes of insecurity/safety, isolation/respite, autonomy, and love. Gary presents a complicated and nuanced portrait of the diversity and complexity of Black women’s relationship to physical and emotional security.
Jasmine Gregory: Who Wants to Die for Glamour
October 10–Spring 2025
MoMA PS1, NYC
The monumental mixed-media figural and abstract canvases of Zurich-based American artist Jasmine Gregory (b. 1987) draw from art history and popular culture to critique commodification, consumerism, and the systems of cultural patrimony, including the racism and misogyny that dwell therein.
Kandy G Lopez: (In)visible Threads
Through March 2
Riverside Art Museum, Riverside, CA
Kandy G Lopez, a multidisciplinary Afro-Caribbean American artist, critically engages with the complexities of identity and marginalization. Lopez’s fiber-based artworks serve as a powerful medium to navigate the intricacies of ancestry, race, class, and gender. As an artist, Lopez is driven by a desire to represent marginalized individuals who inspire and move her, constantly seeking challenges both materialistically and metaphorically. Her works are born from a deep-seated need to learn about her people and culture, fostering a dialogue between the artwork and the viewer. This exhibition features her large-scale fiber works – portraits “painted” with yarn.
Laura Aguilar: Nudes in Nature
Through January 5
Phoenix Art Museum, Phoenix, AZ
Laura Aguilar: Nudes in Nature celebrates the work of photographer Laura Aguilar (1959-2018) and her series of intimate portraits of nude, large-bodied women in natural settings. Nudes in Nature brings together nearly 60 photographic works from the most recognized of Aguilar’s series. Featured works depict the Southwestern region of the United States and highlight the inherent connections between nature and the female form. Exhibited in conversation, they encourage reflection on the ways female bodies are perceived within the natural world in comparison to how they are viewed in social and cultural spaces.
Through October 13
Colby College Museum of Art, Waterville, ME
November 16–May 18, 2025
The Aldrich Contemporary Art Museum, Ridgefield, CT
When she worked in her New York studio, said painter Martha Diamond (1944–2023), she was “thinking of infinity: to the time of religion, of history, … using shapes that have been significant to people for thousands of years.” A selection of Diamond’s drawings and monotypes appears in this exhibition alongside examples of her better-known large-scale abstracted city views and full abstractions in oil on canvas, all engaging with the notions of cyclicality and disruption that are central to the geological and anthropological theories of deep time.
Ming Smith: Wind Chime
Through January 5
The Wexner Center, Columbus, OH
Ming Smith: Wind Chime explores spirituality, movement, and feminism in a solo exhibition pairing recent work by the Columbus-raised artist Ming Smith with the photographic series that started her career in 1972. The centerpiece of the exhibit, a multimedia commission that animates a series of photographs using projection, marks an entirely new direction in her practice. Also on view are recent collages and color photographs—all set to an ambient soundscape created by Smith’s son, Mingus Murray. The exhibition also includes nearly 30 black-and-white photographs from Smith’s Africa series, taken during her travels to Senegal, Ethiopia, Ivory Coast, and Egypt over the span of three decades.
Nicole Eisenman: Fixed Crane for Madison Square Park
October 24–March 9
Madison Square Park Conservancy, NYC
Nicole Eisenman, best known for incisive works that capture the human experience in unexpected, grim, and humorous scenes, continues her innovation through sculpture with a new commission that destabilizes familiar heroic objects associated with exploration and advancement. On view in the park’s Oval Lawn, Eisenman offers visitors the opportunity to explore and engage with a toppled 100-foot-long industrial crane embellished with roughhewn sculptural “barnacles.” The artist draws inspiration from art history—referencing Duchamp’s readymades, Manet’s Le Déjeuner sur l’herbe, and Rodin’s figures. Eisenman’s project lends humanity and humor to these references, challenging our notions of progress and achievement.
Rosalie D. Gagné: A Contemporary Alchemist
Through December 22
Neuberger Museum of Art, Purchase, NY
Combining organic materials like glass, clay, and live plants with inorganic matter like plastics and computers, Montreal-based artist Rosalie D. Gagné produces large-scale sculptural installations that examine our perceptions of nature and technology and the interactions of organic systems with human-built ones, including simulation in the form of biomimicry. The Neuberger retrospective will include a re-creation of Gagné’s 2020 Artificial Kingdom IV comprising forty-five suspended, tentacled polyethylene forms that respond to viewer movements.
Steina: Playback
October 25–January 12
MIT List Visual Arts Center, Cambridge, MA
In fall 2024, the List Visual Arts Center will present the first solo exhibition in over a decade of Steina, the pathbreaking media artist whose work traverses video, music, and technology through a commitment to spontaneity and play. Steina’s nearly five decades of video work queries the possibilities of sound-image exchange, machine vision, and electronic abstraction. This exhibition will trace Steina’s creative practice from early collaborative works with Woody Vasulka to her independent explorations of optics, machine vision, and a liberated, non-anthropocentric subjectivity. The show seeks to both bring renewed recognition to the artist’s innovative vision and argue for her influence and relevance today as a younger generation of artists consider modes of art-making that resist easy commodification and question the place of technology and the human in relation to larger ecological and planetary concerns.
Suchitra Mattai: Myth from Matter
Through January 12
National Museum of Women in the Arts, Washington, D.C.
Combining richly colored textiles, found objects, beads, and more, multidisciplinary artist Suchitra Mattai (b. 1973, Georgetown, Guyana) explores themes of history, identity, and belonging. The forces that lead certain stories to be remembered, or forgotten, are central to her art. Drawing on her Indo-Caribbean roots, Mattai weaves together personal narratives, collective mythologies, and colonial history. Suchitra Mattai: Myth from Matter is the artist’s first solo exhibition in Washington, DC. Large-scale textile installations, sculptures, collages, and paintings by Mattai are presented with a selection of related historical artworks from Europe and Southeast Asia.
MEXICO
Ana Gallardo: Tembló acá un delirio
Through December 15
Museo Universitario Arte Contemporáneo, Mexico City
Since the end of the 90s, a time when globalization instrumentalized precarity and the feminization of labor beyond the scope of care and the domestic, the work of Ana Gallardo has problematized the privatization of feelings and social relationships through a perspective that centers the open wound of violence against women.
¡Hija de su madre! Una exposición de Mónica Mayer
Through September
Galería de Arte Contemporáneo de Xalapa, Mexico
The exhibition Her Mother’s Daughter! An exhibition of Mónica Mayer traces a fascinating journey through the artist’s different creative stages, encompassing more than one hundred historical and recent pieces created over the last five decades around themes such as family, motherhood, and gender. Since the 1970s, Mónica Mayer (Mexico, 1954) has held two central convictions: that the personal is political and that art is inseparable from life itself. In her works, she uses irony and performance to examine the evolution of family structures and question the persistence of exploitation and sexist norms affecting women.
Myra Landau: Sensitive Geometry
Through February 23
Museo Universitario Arte Contemporáneo, Mexico City
Although Myra Landau’s work is substantial to the development of geometric abstraction in the second half of the twentieth century, her work is little known. This retrospective responds to the urgency to not only investigate and give visibility to female artists who have been left out of the hegemonic historiographic discourse, but also to understand their contributions to the history of geometric abstraction, particularly sensitive geometry, an approach that has been excluded by the art canon in Mexico.
CANADA
Cheryl Pagurek: Winter Garden
Through December 8
Surrey Art Gallery, Surrey, BC
Using machine learning software, Winter Garden mirrors the presence and movement of viewers via a webcam, creating an ever-changing collage composed of motifs of lively indoor plants against a desolate winter landscape. The concept began from a series of still-life photographs depicting a small oasis of indoor plants that the artist tended to during the lockdown in the winter of 2021. As a woman in the cross-over area of art and tech, Pagurek aims to broaden approaches and themes presented in the field.
Lucy Qinnuayuak
Opening October 9
Art Gallery of Ontario, Toronto, ON
One of the first artists to ever begin creating works at the print studio in Kinngait, Nunavut in the 1960s, Lucy Qinnuayuak’s colorful depictions of birds and scenes of domestic life bring to life the world as she saw it. In this exhibition of 20 works on paper, the viewer is invited to explore the evolution of Qinnuayuak’s style, from her concept drawings to stonecut prints, many of which include her much-loved owls.
SOUTH AMERICA
Cronotopías: Silvia Rivas
Through October 6
Museo de Arte Moderno de Bogotá, Colombia
Cronotopías is the first solo exhibition in Colombia dedicated to the work of Argentine artist Silvia Rivas. The exhibition explores the relationship between time and space through video installations, animations, and liminal environments. Rivas has developed extensive work in this field since the late 1990s and her work has been internationally recognized for its ability to create immersive and emotionally resonant experiences.
Desde la ventana: Ana Mercedes Hoyos. Una retrospective
Through October 6
Museo de Arte Moderno de Bogotá, Colombia
Through the Window: Ana Mercedes Hoyos. A Retrospective is the fourth exhibition of the artist at MAMBO, her second retrospective, and the most comprehensive to date, showcasing the entirety of Hoyos’ work (1942–2014), particularly the period between 1968 and 1984. This period constitutes one of the most important contributions of the artist to contemporary Colombian and Latin American art, during which she developed her unique form of pop, landscape, and abstraction.
Musa. Perspectivas femeninas en las Colecciones del MAMM y MAC Panamá
Through May 4
Museo de Arte Moderno de Medellín, Colombia
This exhibition brings together works from the collections of the Museo de Arte Moderno de Medellin and the Museo de Arte Contemporáneo de Panama and seeks to make visible the works of female artists who historically have had less prominence than their male counterparts.
EUROPE & UK
Against All Odds: Historical Women and New Algorithms
Through December 8
Statens Museum for Kunsts, Copenhagen, Denmark
During the years 1870–1910, a number of Nordic female artists achieved success against all odds. However, despite their success, they were later forgotten and quietly disappeared from history. What happened? We investigate this question, bring the artists back into the spotlight and explore how artificial intelligence can be used to understand and communicate history in new ways. All 24 artists in the exhibition have one thing in common: they left their Nordic home countries to pursue their artistic ambitions abroad in places such as Germany, Italy, France and Greece. There, they met other women in the same situation, forming networks across national borders. In the exhibition, you will encounter both spectacular artworks by the 24 artists and digital installations based on artificial intelligence. These installations use the women’s artworks, biographies and research to tell their collective story.
Gabriele Münter: the Great Expressionist Woman Painter
November 12–February 9
Thyssen-Bornemisza National Museum, Madrid, Spain
Gabriele Münter (1877–1962) was one of the founders of The Blue Rider [Der Blaue Reiter], the legendary group of Expressionist artists based in Munich. The exhibition, which includes more than one hundred paintings, drawings, prints and photographs, aims to reveal an artist who rebelled against the limits imposed on women of her day and who succeeded in becoming one of the most notable figures of German Expressionism in the early 20th century.
Hilary Heron: A Retrospective
Through October 28
Irish Museum of Modern Art, Dublin, Ireland
Presenting the work of pioneering Dublin-born, modernist sculptor Hilary Heron (1923 – 1977), this is the first major retrospective exhibition of Heron’s work since 1964. Bringing together work from national and international collections, the exhibit includes Heron’s carvings, welding and castings. A master welder, Heron’s practice was highly unusual for an Irish artist, let alone a woman in the 1950s. Her work tactfully and skillfully broaches themes of gender, relationships, deep histories and religion through impressive, varied mediums including stone, lead, steel and wood. Hilary Heron: A Retrospective seeks to correct the ways that her work has been overlooked in Irish and international histories of modern sculpture.
Zanele Muholi
Through January 26
Tate Modern, London, UK
Zanele Muholi is one of the most acclaimed photographers working today, and their work has been exhibited all over the world. With over 260 photographs, this major exhibition presents the full breadth of their career to date. Muholi describes themself as a visual activist. From the early 2000s, they have documented and celebrated the lives of South Africa’s Black lesbian, gay, trans, queer and intersex communities.
ASIA
Tosh Basco: No Sky
Through October 15
Rockbund Art Museum, Shanghai, China
The Filipino-American performance artist Tosh Basco (b. 1988), a nonbinary trans artist who for years has performed under the drag persona boychild, receives her first survey exhibition in No Sky. Her movement-based practice–informed by research into a wide range of experimental and improvisational performance styles, from Japanese Butoh to shamanism–finds expression in paintings created by impressing her body on the canvas after coating it with theatrical materials like clown paint, as well as in paintings and works on paper.
Akutagawa Saori: 100th Anniversary of Her Birth
Through October 20
Yokosuka Museum of Art, Yokosuka, Japan
Avant-garde painter and dye artist Akutagawa (Madokoro) Saori (1924–1966) exhibited extensively in her native Japan starting in 1954, when she won the Newcomer Award at the 4th Modern Art Association Exhibition in Tokyo, and twice while living in Los Angeles and New York in 1958–62. Akutagawa deployed bold forms and a vivid palette in abstractions and in works evoking expressive female figures (Woman series), monsters, and deities (Myths/FolkTales series). Her oeuvre reflects influences as varied as her travels in the Soviet Union and the 1955 Mexican Art Exhibition at the Tokyo National Museum. The Yokosuka Museum show, held in the centennial year of the artist’s birth, features works from the institution’s permanent collection.
MIDDLE EAST & NORTH AFRICA
Alia Ahmad: Aspects [مظاهر]
Through October 22
Lawrie Shabibi, Dubai, UAE
Alia Ahmad is a Saudi Arabian painter (b.1996). Her color palette is influenced by an upbringing in Riyadh’s industrial/desert landscape. She seeks, in Aspects to peel back layers, exposing her personal vocabulary. Ahmad’s point of departure – the rapidly changing environment of her home city, Riyadh, where traditional ways of life exist alongside industrialization and modernization, where native plant life and cultural art forms thrive within one of the world’s fastest-growing urban settings. Ahmad’s segmented compositions, with their tonal contrasts, modulated colors, sinewy brushwork, and gestural forms provide a sense of constant growth.
Mouza Al Hamrani: Homepage
Through October 24
Tashkeel, Dubai, UAE
Mouza Al Hamrani is an Emirate illustrator and multimedia artist whose work is rooted in the pop culture of the GCC region. Her work explores the intricate and often exhausting reality of contemporary life, delving into themes of cultural inheritance and the human condition. Homepage reinterprets early “Khaleeji” cyberspace’s digital ephemera into a tangible, immersive experience. This exhibition bridges the virtual and physical worlds, capturing the impact of Khaleeji cyberspace as it entered modern culture. By bringing these digital relics into the real world, Al Hamrani celebrates the online anonymity afforded during a time when the GCC was wary of the World Wide Web. The exhibition explores questions such as: How did this foreign technology affect a conservative culture? What does it signify when digital artifacts are removed from their original context? How does viewing them outside their intended space change their meaning? How did people express themselves while remaining anonymous?
Zainab: The Weight of Snow on Her Chest
Through December 6
Gulf Photos Plus, Dubai, UAE
Zainab (b. 1998, Srinagar, Kashmir) is a visual artist based in Kashmir, India. Her engagements with photography are mostly personal, reflecting her experiences of surviving in a militarized region. The Weight of Snow on Her Chest renders a portrait of a home in Kashmir—moving through the constant sieges enforced in the region. Zainab’s photographs carry the everyday feelings of suffocation and anxiety in a place where both identity and existence are threatened by a colonizing power. The photographs are accompanied by verses that draw upon her role as a photojournalist documenting property destructions and encounters in other Kashmiri homes. The combination of image and text within this work skillfully recasts photographs as metaphors.
OCEANIA
Julie Rrap: Past Continuous
Through February 16
Museum of Contemporary Art Australia, Sydney, Australia
A major figure in Australian contemporary art for over 40 years, Julie Rrap (b. 1950, Widjabul Wia-bal Country/Lismore) works across photography, video, performance, sculpture, and drawing to examine representations of the body in art and popular culture. Julie Rrap: Past Continuous features the artist’s landmark installation Disclosures: A Photographic Construct (1982), as well as newer works using the artist’s body 42 years later. Rrap uses the camera as a powerful feminist tool to give agency to the model (often herself) as both the object and subject of her works. In recent years, Rrap has reflected on the invisibility of the aging female body and how we look or look away when confronted by certain bodies.