posted by Janet Landay, Program Manager, Fair Use Initiative — Dec 01, 2014
CAA is pleased to announce this year’s recipients of travel support through the CAA-Getty International Program. In an effort to promote greater interaction and exchange between American and international art historians, CAA will bring scholars from around the world to participate in the 2015 program, held during the association’s Annual Conference in New York City from February 11–14, 2015. This is the fourth year of the program, which has been generously funded by grants from the Getty Foundation since its inception. The participants—professors of art history, curators, and artists who teach art history—were selected by a jury of CAA members from a highly competitive group of applicants. In addition to covering travel expenses, hotel accommodations, and per diems, the CAA-Getty International Program includes support for conference registration and a one-year CAA membership.
The CAA-Getty International Program participants’ activities begin with a one-day preconference colloquium on international issues in art history, during which they meet with North-American-based CAA members to discuss common interests and challenges. The participants are assisted throughout the conference by CAA member hosts, who recommend relevant panel sessions and introduce them to colleagues who share their interests. Members of CAA’s International Committee have agreed to serve as hosts, along with representatives from several Affiliated Societies of CAA, including the American Council for Southern Asian Art, the Arts Council of the African Studies Association, the Association for Latin American Art, the Society of Contemporary Art Historians, and the Society of Historians of East European, Eurasia, and Russian Art and Architecture.
This program has increased international participation in the association’s activities, and expanded international networking and the exchange of ideas both during and after the conference. The CAA-Getty International Program supplements CAA’s regular program of Annual Conference Travel Grants for graduate students and international artists and scholars. We look forward to welcoming the recipients at the Annual Conference in New York City this February.
2015 CAA-Getty International Program Participants
Mokammal H. Bhuiyan
Mokammal H. Bhuiyan
Mokammal H. Bhuiyan is chairman of the Department of Archaeology at Jahangirnagar University, Dhaka, Bangladesh. With a BA (honors), MA, MPhil, and PhD in archaeology, he has developed scholarly interests that also include art history, iconography, and heritage studies and management of Eastern India and Bangladesh. The author of a 2003 book, Terracotta Art of Ancient Bengal, Bhuiyan has written numerous scholarly articles on art, iconography, archaeology, and heritage, both nationally and internationally, as well as newspaper articles on current issues in Bangladesh. He edited Studies in South Asian Heritage, featuring contributions by leading international scholars, as well as Pratnatattva, Vols. 17 and 18. He was a member of the editorial board of the Jahangirnagar Review Part-C, Vol. XXIII, 2011–2012 and serves on the Board of Advanced Studies and Academic Council of Jahangirnagar University. A participant in conferences and seminars around the world, Bhuiyan is a research fellow of the SAARC Cultural Centre and was a research fellow of the Asiatic Society of Bangladesh. As a member of Object Identification Committee, Department of Archaeology, Government of Bangladesh, he has been actively involved in researching the vernacular architecture of Narsingdi, Bangladesh, and conducting a comparative study between Buddhist stone sculptures found in Mainamati, Bangladesh, and those in Tripura, India.
Dafne Cruz Porchini
Dafne Cruz Porchini
Dafne Cruz Porchini is a curator at the Museo del Palacio de Bellas Artes (Museum of the Palace of Fine Arts) in Mexico City. From 2007 to 2011 she was the deputy director of the Museo Nacional de Arte (National Museum of Art), Mexico City. Cruz studied at the Universidad Nacional Autónoma de México (UNAM), where she received a PhD in art history in 2014. Her main research interests include the history of modern exhibitions and transcultural artistic exchanges, topics she has tried to link with her curatorial practice. Her most recent publication is a critical catalogue of twentieth-century modern Mexican painting, Catálogo comentado de pintura del siglo XX (Museo Nacional de Arte-Instituto de Investigaciones Estéticas, 2013), for which she served as the academic coordinator. She is currently organizing the exhibition Mexican Modernisms,which will open at the Philadelphia Museum of Art in fall 2016.
Boureima Tiékoroni Diamitani
Boureima Tiékoroni Diamitani
Since 2001, Boureima Tiékoroni Diamitani has been the executive director of the West African Museums Programme (WAMP), based in Ouagadougou, Burkina Faso. From 1989 to 1993, he served as the director of cultural heritage and museums of Burkina Faso and then as a consultant to the World Bank. Diamitani received his PhD in art history from the University of Iowa in Iowa City and is a specialist in the art of the Senufo people. He also holds a master’s degree in architecture and town planning from the African Crafts School of Architecture and Urbanism in Lomé, Togo. Diamitani was a predoctoral fellow at the National Museum of African Art, Smithsonian Institution, and a Coleman fellow at the Metropolitan Museum of Art in New York. Among the many exhibitions he has organized is Deux Roues (Two Wheels: History of Bicycles and Motorcycles in Burkina), National Museum of Burkina Faso, April 1990.
Ljerka Dulibić is senior research associate and curator of Italian paintings at the Strossmayer Gallery of Old Masters of the Croatian Academy of Sciences and Arts. She received her PhD in the history of art from Zagreb University in 2007 with a thesis on Tuscan fifteenth-century paintings from the Strossmayer Gallery collection. Since 2008 she has taught courses on art history and iconography at the Catholic Faculty of Theology, Zagreb University. Dulibić has received several awards and scholarships, including a grant from the Attingham Trust, England (2008). She has published papers in international conference proceedings and scholarly articles in international journals, as well as several books on the painting collection at the Strossmayer Gallery. Dulibić’s main research interests are focused on Italian Renaissance and Baroque painting, the history of art collecting and collections, provenance research of works of art in Croatian collections, and the history of the European art market in the nineteenth and early twentieth centuries.
Georgina Gluzman is an assistant professor of art history at the Universidad de San Andrés in Buenos Aires, Argentina. She graduated with honors from the Universidad de Buenos Aires, where she is currently completing her PhD. Gluzman’s research focuses on the work of nineteenth-century and early-twentieth-century Argentine women artists. She has published articles and book chapters concerning women artists in Buenos Aires, the iconography of the women of the 1810 revolution, and the role of women artists in early Argentine art-history surveys. In 2014 she cocurated Desbordando los géneros (Undoing Genders: Women Artists from the Ateneo) at the Museo de Arte de Tigre. This exhibition, based on the dissertation she is currently working on, showcased the work of three women artists active between 1880 and 1920.
Angelo Kakande is a senior lecturer and head of the Department of Industrial Arts and Applied Design, College of Engineering Design, Art, and Technology, Makerere University in Uganda. He holds degrees in fine arts (painting and ceramics), art history (MA and PhD), and law (bachelor of law). This combination of interests and training has altered the path of his studio practice and approach to art history and turned him into an activist-scholar. Kakande’s research now lies in the nexus of popular culture, art, art history, law, and the injustices and inequities afflicting many African citizens. Currently, he is exploring the ways in which widespread breaches in human rights form the character of Uganda’s art and art history. He has pursued this subject through two postdoctoral research projects. The first, called “Surviving as Entrepreneurs: Contemporary Ugandan Art and the Era of Neoliberal Reform”(2013), explores the ways in which artists have responded to the Structural Adjustment Programme in Uganda since the 1980s. The second project, “Kampala’s Public Monuments and Allegories of Exclusion: Perspectives on Governance, Human Rights, and Development (2014–16),” questions the ways in which Uganda’s national monuments function as agents of exclusion.
Nazar Kozak is a senior researcher in the Department of Art Historical Studies in the Ethnology Institute at the National Academy of Sciences of Ukraine. After receiving his PhD from the Lviv Academy of Arts in Ukraine, he spent a year at the University of Athens under the auspices of the State Scholarships Foundation. A recipient of research and publication grants from the American Council of Learned Societies, Kozak also earned a fellowship to conduct research at the University of Vienna. Between 2001 and 2013, he taught art history at the Ivan Franko National University of Lviv (Ukraine). Kozak’s research focuses on political and religious iconography. He has published a monograph about the portraits of rulers in the art of Kyivan Rus’ as well as articles dealing with Byzantine and post-Byzantine murals preserved in Ukraine. His current studies are concerned with the iconography of the Akathistos Hymn in post-Byzantine art of the sixteenth century.
Savita Kumari is currently an assistant professor in the Department of History of Art at the National Museum Institute of History of Art, Conservation, and Museology, New Delhi, India. She holds a PhD from the same institute and specializes in medieval and premodern Indian art history. Engaged in research and teaching for the past eight years, Kumari is currently working on an international research project called “Cham Sculptures from Vietnam and Their Interface with Indian Art,” in collaboration with the Da Nang Museum of Cham Sculpture, Vietnam. She published a book entitled Tombs of Delhi: Sultanate Period in 2006 and coauthored a book entitled Heritage of Haider Ali and Tipu Sultan: Art and Architecture in 2012. Kumari has been awarded fellowships from the Indian Council of Historical Research (ICHR), Charles Wallace India Trust Grants for Research and Visit (CWIT), and a UK Travel Award from Nehru Trust for Indian Collections at the Victoria and Albert Museum (NTICVA).
Nomusa Makhubu holds a PhD in art history and visual culture from Rhodes University, South Africa, and lectures in art history at the Michaelis School of Fine Art, University of Cape Town. She is also a practicing artist who received the ABSA L’Atelier Gerard Sekoto Awardin 2006 and the Rhodes Amnesty International Woman of the Year Award(Art). Since then Makhubu has exhibited her work in South Africa, France, Germany, Italy, Austria, Swaziland, China, and Reunion Island. In 2008 she was nominated as the presenting artist for the Business Day: Business and Art South Africa (BASA) Awardsand received the Purvis Prize for Academic Achievement in Fine Art, Rhodes University. Makhubu has presented research papers nationally and internationally. In 2010, she completed her fellowship with the Omooba Yemisi Adedoyin Shyllon Art Foundation (OYASAF) in Nigeria. Her current research focuses on African popular culture and photography. She has worked as a Cue reviewer for the National Arts Festival in Grahamstown (2007, 2010, 2012) and was appointed to the National Arts Festival committee in 2011. Makhubu is a member of the Friends of the Michaelis Collection Committee at the Iziko South African National Gallery.
Ana Mannarino is an art-history professor at Rio de Janeiro Federal University in Brazil, where she teaches courses for students working on bachelor’s degrees in art history, as well as for other art degrees at the same institution. She is also an art historian and researcher. Mannarino received a PhD in art history from the Rio de Janeiro Federal University (PPGAV–UFRJ, Brazil) and participated in a year-long collaborative study program at the Université Sorbonne Nouvelle – Paris 3. Her doctoral thesis, “Word in Brazilian Art: Mira Schendel and Waltercio Caldas,” focused on the relationship between text and image in Brazilian contemporary art, especially in the work of these two artists. Her research also considers the connections between art and poetry in Brazil, Concrete and Neoconcrete art, and the production of artist’s books.
After receiving an MA in art history and in graphic design ten years ago, Márton Orosz defended his PhD in the Institute of Art History at the University of Eötvös Loránd in Budapest, Hungary, in 2014. Since 2005 he has been working at the Museum of Fine Arts (MFA) in Budapest. There, as part of the Department of Art after 1800, he established the collection of photography and media art. In 2014 he became the director of the Victor Vasarely Museum, which is affiliated with the MFA. He now works as a curator in both institutions. Orosz’s research focuses on media art of the twentieth century such as photography, animated film and motion picture, as well as the art of the classical avant-garde, including architecture, design, and collectorship. Orosz has been a Terra Predoctoral Fellow at the Smithsonian Institution, Washington DC; an ESKAS Fellow at University of Berne in Switzerland; a Baden-Württemberg Research Fellow at Hochschule für Gestaltung (HfG) in Karlsruhe, Germany; and he was awarded a Gyorgy Kepes Fellowship for Advanced Studies and Transdisciplinary Research in Art, Culture and Technology at MIT in Cambridge, Massachusetts. He is now working on the first monograph of the Hungarian–American visual artist, Gyorgy Kepes.
Andrey Shabanov received an MA in art history from the European University at Saint Petersburg, Russia (EUSPB) in 2004. In 2013 he completed his PhD at the Courtauld Institute of Art, University of London, with a thesis entitled “Re-Presenting the Peredvizhniki: a Partnership of Artists in Late Nineteenth-Century Imperial Russia.” A monograph based on the thesis and translated into Russian will be published by EUSP Press in early 2015. It will be followed in due course by a monograph in English. Shabanov is an associate research fellow in the Department of Art History of EUSPB, where he teaches graduate courses called “Russia and Europe: Emergence and Modernisation of Art Institutions and Practices in XVIII–XX Centuries” and “From Descriptive to Critical, Problem-Based Art Historical Research: Some Aspects of Academic Writing.” Inspired and informed by his work at the Courtauld, these courses aim to meaningfully link the present Russian art-historical scholarship practice with modern Western academic research standards and knowledge on the subject. Shabanov’s broader research interests are Russian and Western art of the second half of the nineteenth century and the twentieth century, contemporary art, the social history of art, the sociology of art, modern institutional art history, and the history of art exhibitions in Europe.
Shao Yiyang is a professor of art history and theory and the head of Western art studies at the Central Academy of Fine Art, Beijing. She is also a member of the Chinese executive committee of the Committée Internationale d’Histoire d’Art (CIHA). Shao received her PhD in art history and theory in 2003 from the University of Sydney, and her MA degree at the University of Western Sydney. Her teaching and research focuses on Western art history, theory, and Chinese modern and contemporary art. She has published widely on contemporary art and theory in Chinese including two books, Art after Postmodern (Hou xian dai zhi hou) and Beyond Postmodern (Chuanyue hou xiandai). Shao presented papers on Chinese modern art at the thirty-second CIHa congress in Melbourne (2008), the thirty-third CIHA congress in Nuremburg (2012), and the twenty-ninth art-history conference organized by Verband deutscher Kunsthistoriker (Association of German Art Historians) in Regensburg in 2007.
Lize van Robbroeck
Lize van Robbroeck
Lize van Robbroeck completed her honors degree in the history of art at the University of the Witwatersrand, South Africa. Her MA, from the same university, dealt with the ideology and practice of community arts in South Africa. Van Robbroeck completed her PhD at the University of Stellenbosch, studying the discursive reception of modern black art in white South African writing. Her subsequent publications focused on postcoloniality and nationalism in South African visual arts. As a council member of the South African Visual Arts Historian’s Association (SAVAH), van Robbroeck organized the association’s 2008 annual conference. She is one of the editors and writers of Visual Century: South African Art in Context: 1907–2007, a four volume revisionist history of South African art in the twentieth century. Recently her research interests have expanded to include psychoanalytic theories of subjectivity, which she is applying to postcolonial visual culture. She is currently associate professor in the Department of Visual Arts at Stellenbosch University, where she coordinates the visual-studies courses.
Nóra Veszprémi is a lecturer at the Institute of Art History, Eötvös Loránd University, Budapest, Hungary. She studied art history and Hungarian literature at the same university, where she completed her PhD in art history in 2012. In 2011, Veszprémi was a visiting research student in art history at University College London, and in 2013 she received a research fellowship from the Cantemir Institute, University of Oxford. Until 2014, she was a curator at the Hungarian National Gallery, where she cocurated a retrospective of the nineteenth-century Hungarian painter József Borsos (2009) and a major exhibition on art and national identity in nineteenth-century Hungary (2010). Veszprémi’s research focuses on nineteenth-century Hungarian and Austrian visual culture. Her PhD thesis, which will soon be published as a book, provided a critical investigation of the concept of “national Romanticism.” She has presented papers at conferences in Hungary and abroad and has published essays on topics including the representation of gypsies in nineteenth-century Hungarian painting and literature, gothic imagery in Hungarian Romanticism, and the artists Miklós Barabás, József Borsos, and Viktor Madarász. Her article on the Rococo revival in mid-nineteenth-century Hungarian and Austrian painting will be published in The Art Bulletin in December 2014.