Diana Seave Greenwald reviews Out of Earshot: Sound, Technology, and Power in American Art, 1860–1900, by Asma Naeem. Read the full review at caa.reviews.
Grace Harpster discusses the exhibition Through a Glass, Darkly: Allegory and Faith in Netherlandish Prints from Lucas van Leyden to Rembrandt at the Carlos Museum, Atlanta. Read the full review at caa.reviews.
Susan Danly writes about the catalog Winslow Homer and the Camera: Photography and the Art of Painting by Dana E. Byrd and Frank H. Goodyear III. Read the full review at caa.reviews.
posted by CAA — February 26, 2020
As part of the 2021 Annual Conference, CAA seeks to offer a selection of sessions, papers, speakers, and related programming on the topic of Climate Crisis. Including but going beyond eco-art and eco-criticism, and with climate justice and intersectional thinking as priorities, panels and presentations can address ecology as a matter of the content of artworks, but also, and pressingly, how we—artists, designers, and art historians, institutional stakeholders and independent practitioners, and members of allied fields—can and should change our professional practices in light of the crisis.
We invite discussions of creative interventions into the status quo, up to and including a serious discussion of ways of reducing the carbon footprint of the annual conference itself, while preserving and enhancing access. Practices and themes may include remediation and amelioration, thematic representation and critique, the ramifications of change for institutions and collections, issues of preservation, and the nature of research. We invite radical and practical proposals. The conference content will stress a broad and inclusive conversation on climate crisis impact through the lens of age; gender; nationality; race; religion; and socioeconomic status among others.
A Stunning Legal Decision Just Upheld a $6.75 Million Victory for the Street Artists Whose Works Were Destroyed at the 5Pointz Graffiti Mecca
The trial was a key test of the Visual Artists Rights Act (VARA), which grants protections to artworks deemed to be of “recognized stature.” (artnet News)
‘It Confirms the Dread I Felt on Election Day’: Artists From Countries Targeted by Trump’s Latest Immigration Ban Speak Out
The addition of Nigeria, Myanmar, Eritrea, Kyrgyzstan, Sudan, and Tanzania to the restricted travel list nearly doubles the number of countries affected since Trump’s original executive order. (artnet News)
Concerns Over Britain Returning Elgin Marbles to Greece Arise as EU Drafts Brexit Negotiating Mandate
After a draft EU mandate leaked to the media last week, reporters were quick to speculate that the Parthenon Marbles could become a bargaining tool in Brexit trade talks. (ARTnews)
Want articles like these in your inbox? Sign up for our weekly newsletter:
The results of the 2020 CAA Board of Directors Election were presented at the CAA Annual Business Meeting, Part II on Friday, February 14 at 2:00 PM at the 108th CAA Annual Conference in Chicago.
We are grateful to all the candidates who put forward their names for consideration this year. The 2019-20 Nominating Committee selected six candidates for election for four-year terms, and—new this year— two Emerging Professional candidates, who were eligible for a two-year term. Voters were asked to select four of the six candidates for four-year terms, and one candidate in the Emerging Professional category.
CAA Board of Directors Election
We congratulate Mora Beauchamp-Byrd, Scherezade Garcia-Vasquez, Tiffany Holmes, and Nada Shabout on their election by CAA membership for four-year terms and Lara Ayad on her election for a two-year term as the inaugural Emerging Professional board member.
Learn more about the new members:
• Lara Ayad
Assistant Professor, Art History
• Mora Beauchamp-Byrd
Visiting Assistant Professor of Art History
Oklahoma State University
• Scherezade Garcia-Vasquez
Interdisciplinary visual artist
Assistant Professor, Parsons School of Design
• Tiffany Holmes
Vice-Provost for Undergraduate Studies
Maryland Institute College of Art
• Nada Shabout
Professor of Art History
University of North Texas
About the Board of Directors
The Board of Directors is charged with CAA’s long-term financial stability and strategic direction; it is also the Association’s governing body. The board sets policy regarding all aspects of CAA’s activities, including publishing, the Annual Conference, awards and fellowships, advocacy, and committee procedures.
Thank you to all those who voted!
Jessamine Batario considers Sam Rose’s Art and Form: From Roger Fry to Global Modernism. Read the full review at caa.reviews.
Holly Flora discusses Women, Art and Observant Franciscan Piety: Caterina Vigri and the Poor Clares in Early Modern Ferrara by Kathleen Giles Arthur. Read the full review at caa.reviews.
Kerri A. Pfister reviews the exhibition Della Robbia: Sculpting with Color in Renaissance Florence. Read the full review at caa.reviews.
Nancy Locke delves into Carol Armstrong’s book Cézanne’s Gravity. Read the full review at caa.reviews.
If you attended CAA 2020, we want to hear from you. Let us know what worked, what didn’t, and what you’d like to see next year in our online survey. All survey respondents are eligible to be entered into a drawing for a free year-long membership.
We appreciate your feedback and hope to see you next year in New York, February 10-13, 2021! The submissions portal for CAA 2021 opens March 1.
CAA is pleased to announce the recipients of the 2019 Professional Development Fellowships. The recipient of the $10,000 fellowship in art history is Ace Lehner, University of California, Santa Cruz. The recipient of the $10,000 fellowship in visual art is Leah Schretenthaler, University of Wisconsin-Milwaukee.
The honorable mention for art history goes to Anne Marie Butler, Kalamazoo College, and the honorable mention in visual art is awarded to Madelaine Corbin, Cranbrook Academy of Art. All fellows and honorable mentions receive a complimentary one-year CAA membership and registration for the 2020 Annual Conference in Chicago.
2019 Professional Development Fellowship in Art History
Ace Lehner, University of California, Santa Cruz
Ace Lehner is an interdisciplinary scholar and artist specializing in critical engagement with identity and representation; history, theory, and criticism of contemporary art; photography theory; and queer and trans theory. Lehner’s artistic practice often embraces collaboration and primarily utilizes photography and video to mine the complex relation between representations and the constitution of identities. Lehner was recently a Presidents’ Dissertation-Year Fellow at the University of California, Santa Cruz, where they are completing their dissertation, ”Trans Representations: Contemporary Art Photography and Non-Binary Visual Theory,” and earning their PhD.
Lehner has chaired panels on trans representations at the College Art Association conference has spoken about their research and artistic practice at the International Center of Photography (New York, NY) and has been published in Art Journal, REFRACT, The Wattis Institute for Contemporary Art, The Journal on Images and Culture, and elsewhere. Lehner’s artwork has been exhibited internationally and will be featured in a solo exhibition at Practice Gallery in Philadelphia in June 2020. Lehner currently serves as the editor of the forthcoming book From Self-Portrait to Selfie: Contemporary Art and Self-Representation in the Social Media Age published by MDPI Books and works in the Education Department at the Dia Foundation and the Museum of Modern Art in New York, NY, where they are currently piloting the museums’ first-ever queer tour programs. Lehner holds an MFA/MA in Fine Art/Visual and Critical Studies from California College of the Arts. Lehner is based in Brooklyn, New York.
Honorable Mention in Art History
Anne Marie Butler, Kalamazoo College
Anne Marie Butler is Assistant Professor of Art History and Women, Gender, and Sexuality at Kalamazoo College, Kalamazoo, MI. Her research areas are global contemporary art, Middle East North Africa studies, gender and sexuality studies, and queer theory. Her scholarship considers issues of gender, sexuality, and queerness within the parameters of the nation-state, and the imbrication of state authority within social constructs. She is currently working on a book project about surrealism in Tunisia, in which she considers emerging and ongoing questions about how Tunisian artists critique embedded systems of power by examining surrealism as a methodology by which Tunisian women artists negotiate the discordant demands of the state apparatus and social norms. Additional scholarship in progress on contemporary Tunisian visual art addresses the overlap of surrealism and queerness, sexuality in surrealism, contemporary performance art, and negotiations of repression. She is also an activist who has worked in migrant justice and local LGBTQ history. In 2018, she founded the Middle East Studies Association Queer Studies Interest Group.
Dr. Butler received her MA from New York University and her PhD from the University at Buffalo. Her dissertation, “Unintelligible Bodies: Surrealism and Queerness in Contemporary Tunisian Women’s Art” (2019), revealed that many Tunisian women artists imagine queer bodies, bodily configurations, and bodily relationships that rebuke normative conceptualizations of the body, and argued that surrealism and queerness are strategies by which Tunisian women artists launch critiques of repressive systems that remain embedded within the Tunisian state and society.
2019 Professional Development Fellowship in the Visual Arts
Leah Schretenthaler, University of Wisconsin-Milwaukee
Leah Schretenthaler was born and raised in Hawaii. After relocating to the mainland, Hawaii continues to be a point of reference for her research and studio practice. Her work uses traditional photography, laser etching, and metal casting to create images. Through her art practice, her research presents a connection between land, material, and performance. Her ongoing series, The Invasive Species of the Built Environment, focuses on the controversial builds of her home state.
Schretenthaler completed her BFA degree from the University of South Dakota and holds a master’s degree in art education from Boston University. She is currently an MFA candidate. Recently she has been named one of LensCulture’s Emerging Talents of 2018 and was awarded second place in the Sony World Photography Awards. In 2019, she was awarded the Rhonda Wilson Award through FRESH2019 at the Klompching Gallery. In the of fall 2019 she received the Film Photo Award. Her work has been displayed nationally and internationally including Kahilu Theater (Waimea, HI), Washington Pavilion (Sioux Falls, SD), Manifest (Cincinnati, OH), The Rhode Island Center for Photographic Arts (Providence, RI), Center for Fine Art Photography (Fort Collins, CO), and SOHO Gallery (New York, NY), as well as the Somerset House (London).
Honorable Mention in Visual Art
Madelaine Corbin, Cranbrook Academy of Art
Madelaine Corbin is a multi-disciplinary artist based in Detroit, Michigan. She received her BFA from Oregon State University where she was an artist-in-residence in the departments of Inorganic Chemistry and Microbiology. Recent awards include the Haystack Mountain School of Crafts Stuart Thompson Fellowship, the President’s Award in Sustainability bestowed by Cranbrook Academy of Art, and the Sponenburgh Travel Award granted by Oregon State University.
Corbin’s practice is an archaeological journey to unearth the space between home and land, human and non-human, wild and managed landscapes, and the connection to one another through geographic distance. A fleck of ash, drop of blue, grain of salt, speck of dust, and particle of soil—a constellation of meaning is composed from these elements. Corbin’s practice earnestly endeavors to listen to, translate, and contextualize the conversation between the vibrancy of matter sensed by our fingertips and the expansive questions cultivated by the equally vast universe around. Spaces that invite wonder and interdisciplinary research coalesce to question the quotidian materials accepted as ‘normal’ when few things are actually so. Dirt, salt, and dust are not so simple. Interminable investigations into subterranean histories, values, politics, sciences, fictions, and natural phenomena re-evaluate the inherent meanings embedded in matter. Using her own relationship to ecology rooted in a valley town in Oregon as a starting point, Corbin articulates the complexity and range of relationships to the land beneath our feet, that which once was, and that which will never be.
About the Professional Development Fellowship
CAA’s Professional Development Fellowship program supports promising artists and art historians who are enrolled in MFA and PhD programs nationwide. Awards are intended to help them with various aspects of their work, whether for job-search expenses or purchasing materials for the studio. CAA believes a grant of this kind, without contingencies, can best facilitate the transition between graduate studies and professional careers. The program is open to all eligible graduate students in the visual arts and art history. Applications for the 2021 fellowship cycle will open in the late spring. Learn more.
The 108th CAA Annual Conference begins today in Chicago! Welcome to the thousands of CAA members, colleagues, and friends who will be there. If you’re attending, make sure you have downloaded the CAA 2020 app, which is your go-to resource for personalizing your schedule and connecting with others at the conference. There is also a desktop version and printable PDF of the schedule available here.
Want to attend but haven’t registered? Onsite registration is available, and thanks to generous support from the Carl & Marilynn Thoma Art Foundation, we’re happy to offer a Pay-as-you-Wish Day Pass on Friday, February 14th.
CAA staff is on-the-ground at the Hilton Chicago, so website updates and email replies may be delayed. Thanks for your understanding!
Dániel Margócsy reviews Insect Artifice: Nature and Art in the Dutch Revolt by Marisa Anne Bass. Read the full review at caa.reviews.
Sven Dupré writes about Art and Optics in the Hereford Map: An English Mappa Mundi, c. 1300 by Marcia Kupfer. Read the full review at caa.reviews.
Beth Saunders discusses Anthony W. Lee’s book The Global Flows of Early Scottish Photography: Encounters in Scotland, Canada, and China. Read the full review at caa.reviews.
In lieu of the Committee on Women in the Arts’ monthly write ups on select exhibitions, programs and scholarship that explore gender issues, feminist practices and the work of women artists from around the world and the United States, this month’s picks will focus on local highlights during the 2020 Annual Conference in Chicago.
Among them we would like to highlight the performance program curated by Out of Site Chicago for CWA’s Reception at HAUS and the Hokin Gallery, Columbia College Chicago during CAA 2020 on Thursday February 13. For more information and to RSVP, click here.
The evening celebrates the centennial of US women’s suffrage and the 50% women-centered content of this year’s conference, marking this monumental occasion while also acknowledging the discriminatory practices that limited voting rights for indigenous women and women of color, even after the passage of the 19th amendment. Seeking to extend conversations on gender, race, class and equality from a local and transnational perspective in light of the fraught history of inclusion in the US and this CWA-spearheaded initiative, Out of Site brings together two riveting, thought-provoking performances by Chicago-based artists Wannapa P-Eubanks and Alexandria Eregbu.
The 50/50 initiative’s spirit and the critical commemoration of US women’s suffrage underpin also several of the participatory projects and workshops of the 2020 ARTexchange program and exhibition that can be also explored during the CWA Reception. Elizabeth Cady Stanton’s 19th-century women’s suffrage address “Solitude of Self” is, for instance, the focus of Carol Flueckiger’s drawing workshop Solitude of Selfie, while the underside of the movement is addressed in UNDERBELLY, a participatory performance by Jennifer Natalya Fink and Julie Laffin. Click here to participate in this modern suffragette parade. For complete list of artists and workshops of 2020 ARTexchange click here.
CWA PICKS FOR CAA 2020 IN CHICAGO
Woman Made Gallery
Woman Made Gallery is a tax-exempt, not-for-profit organization founded in 1992. Its goal is to cultivate, promote and support the work of female-identified artists by providing exhibition opportunities, professional development, and public programs that invite discussion about what feminism means today.
Vaginal Davis: The White to be Angry at the Art Institute Chicago
at the Art Institute Chicago
February 1 – April 26, 2020
Mika Rottenberg: Easypiecesat
at the Bergman Family Gallery
October 2, 2019 – March 8, 2020
Female Trouble: Amanda Joy Calobrisi, Lilli Carré, Qinza Najm, Kathryn Refi, Frances Waite
at Western Exhibitions
January 10 – February 22, 2020
Margie Criner: Mind Over Matter
at Bert Green Fine Art
January 11 – February 22, 2020
Candida Alvarez: Estoy Bien
at Monique Meloche Gallery
February 1 – March 28, 2020
American Medina: Stories of Muslim Chicago
at Chicago History Museum
Why women should vote
at Jane Addams Hull House
True Peace: the presence of justice
at Jane Addams Hull-House Museum
Facing Freedom in America
at Chicago History Museum
at Gallery Victor Armendariz
January 10 – February 28, 2020
Weaving Beyond the Bauhaus
at the Art Institute Chicago
August 3, 2019 – February 17, 2020
Robyn O’Neil: The Tapestries
at Western Exhibitions
January 10 – February 22, 2020