posted by CAA — March 31, 2020
2020 TERRA FOUNDATION FOR AMERICAN ART INTERNATIONAL PUBLICATION GRANT WINNERS
CAA is pleased to announce the 2020 recipients of the Terra Foundation for American Art International Publication Grant.
This program, which provides financial support for the publication of book-length scholarly manuscripts in the history of American art, is made possible by a generous grant from the Terra Foundation for American Art. For this grant, “American art” is defined as art (circa 1500–1980) of what is now the geographic United States.
The four Terra Foundation grantees for 2020 are:
- Monica Bravo, Greater American Modernism: U.S. Photographers and the Mexican Cultural Renaissance, Yale University Press
- José E. Muñoz, Cruising Utopia: The Then and There of Queer Futurity, Brook, translation from English to French
- Craig Owens, Craig Owens: The Indignity of Speaking for Others. Selected Essays, Même pas l’hiver, translation from English to French
- Mona Schieren, Transcultural Translation in the Oeuvre of Agnes Martin: The Construction of Asianistic Aesthetics in American Art after 1945, Columbia University Press and Transcript Verlag, translation from German to English
The International Author Conference Subventions confer two non-US authors of top-ranked books travel funds and complimentary registration to attend CAA’s 2021 Annual Conference in New York, February 10-13; they also received one-year CAA memberships.
The two author awardees for 2020 are:
- Gaëtan Thomas
- Alice Wambergue
posted by CAA — March 30, 2020
CAA is pleased to announce Isimeme (Meme) Omogbai as its next executive director in an executive search process guided by Arts Consulting Group. Omogbai succeeds David Raizman, who has served as CAA’s interim executive director since July 2019. Omogbai begins at CAA on March 30, 2020.
“It is a pleasure to welcome Meme Omogbai to CAA as Executive Director,” says Jim Hopfensperger, President of CAA. “The Search Committee conveyed its confidence that Meme will apply her unique administrative experiences, striking energy, and clear vision to the important work ahead at this key moment in the Association’s history.”
As executive director, Omogbai is an employee of the CAA Board of Directors and serves as the Association’s chief executive officer. In this role, she will work with board members, committees, and task forces to develop the Association’s strategic plans. Omogbai’s experience in resource management and the museum world will greatly benefit the membership and the larger visual arts, design, education, and cultural communities with whom CAA works. Omogbai will oversee a wide variety of initiatives, including the CAA Annual Conference, an advocacy program, member services activities, the career center, fellowships, grants and opportunities offered by CAA, and the publications program, which includes The Art Bulletin, Art Journal, Art Journal Open, and caa.reviews.
“I am joining CAA at an unprecedented period in world history as people across the globe are trying to understand what COVID-19 means for their families, communities and organizations. As I embark on this new role, I want to emphasize that maintaining the health, well-being, and safety of our staff, membership, and stakeholders is and will always be a top priority,” says Omogbai. “We have seen examples of the indomitable human spirit overcome adversity. Art inspired by challenging experiences is a common thread for many of the world’s most distinguished creative minds. Now more than ever there is a need to provide access to robust edifying visual arts experiences that are inclusive of diverse practices and practitioners for every adult and child, professional and student, nationality and race across the globe. Together we can achieve these objectives. With CAA as the preeminent international leadership organization in the visual arts, promoting these arts and their understanding, we will have the opportunity to perform an invaluable service to humanity.”
Before joining CAA, Omogbai served as a member and past Board Chair of the New Jersey Historic Trust, one of four landmark entities dedicated to preservation of the state’s historic and cultural heritage and Montclair State University’s Advisory Board. Named one of 25 Influential Black Women in Business by The Network Journal, Omogbai arrives with over 25 years of diversified experience in corporate, government, higher education, and museum sectors.
As the first American of African descent to chair the American Alliance of Museums, Omogbai led an initiative to rebrand the AAM as a global, inclusive alliance. While COO and Trustee, she spearheaded a major transformation in operating performance at the Newark Museum and achieved four consecutive years of 4-star ratings for superior management. During her time as Deputy Assistant Chancellor of New Jersey’s Department of Higher Education, Omogbai received Legislative acknowledgement and was recognized with the New Jersey Meritorious Service Award for her work on college affordability initiatives for New Jersey families.
Omogbai received her MBA in Finance & Management Consultancy from Rutgers University and holds a CPA. She did post-graduate work at Harvard University’s Executive Management Program and has earned the designation of Chartered Global Management Accountant. She studied global museum executive leadership at the J. Paul Getty Trust Museum Leadership Institute, where she also served on the faculty.
B. Deniz Çalış Kural considers the book Ottoman Baroque: The Architectural Refashioning of Eighteenth-Century Istanbul by Ünver Rüstem. Read the full review at caa.reviews.
Valérie Kobi discusses Charlotte Guichard’s La griffe du peintre: La valeur de l’art (1730–1820). Read the full review at caa.reviews.
Itay Sapir writes about The Neapolitan Lives and Careers of Netherlandish Immigrant Painters (1575–1655) by Marije Osnabrugge. Read the full review at caa.reviews.
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John Muse writes about Dread Scott’s Slave Rebellion Reenactment, a contemporary recreation of the 1811 German Coast Uprising. Read the full review at caa.reviews.
Catherine Spencer explores the immersive traveling exhibition Nick Cave: Until. Read the full review at caa.reviews.
Alison Singer discusses three recent shows at the Baltimore Museum of Art: Generations: A History of Black Abstract Art; Melvin Edwards: Crossroads; and Every Day: Selections from the Collection. Read the full review at caa.reviews.
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2020 CAA-Getty International Program Participants, photo by Stacey Rupolo.
Front row, left-right: Julia Waite (New Zealand), Saurabh Tewari (India), Daria Jaremtchuk (Brazil), Ali Mahfouz (Egypt), Akande Abiodun (Nigeria), Aleksandra Paradowska (Poland), Iro Katsaridou (Greece), Priya Maholay-Jaradi (Singapore), Giuliana Vidarte (Peru); Back row, left-right: Valeria PazMoscoso (Bolivia), Nora Veszpremi (Hungary/UK), Eiman Elgibreen (Saudi Arabia), Pedith Chan (Hong Kong), Mariana Levytska (Ukraine), Daniela Lucena (Argentina), Katarzyna Cytlak (Poland), Daria Panaiotti (Russia), Jean-Arsène Yao (Côte d’Ivoire), Irene Bronner (South Africa); Not pictured: Ganiyu Jimoh (Nigeria)
One for the Scrapbook! The 2020 CAA-Getty International Program participants—twenty scholars from nineteen countries—arrived in Chicago on the Sunday before the conference to get ready for a busy week of meetings, sessions, and one-on-one conversations. With this year’s participants, the program now includes 135 scholars from 48 countries, adding for the first time representatives from Bolivia, Singapore, and Côte d’Ivoire.
The preconference colloquium on February 11 was held at the School of the Art Institute of Chicago and featured papers on indigenous artists and contemporary art, the politics of cultural heritage, new subjects for art history, artistic exiles, and critical pedagogies.
Eleven US-based CAA members served as hosts for the international visitors, introducing them to scholars in their fields, taking them to Chicago-area museums, and attending their preconference colloquium.
Toward the end of the week, five alumni added their voices to the annual Global Conversation session, this year addressing Art History and the Politics of Vision.
As Julia Waite, from New Zealand, summarized the week: “Attending the CAA conference was hugely stimulating, and I left feeling excited about the future of art history. It reminded me of the strengths of deep art historical research in providing a more complex and nuanced understanding of art and society.”
The recent outbreak of coronavirus (COVID-19) has forced us to make major changes to lives. It has hit our members hard, with the movement of classes online for the remainder of the semester, the closure of major museums, and the cancellation of exhibitions, art fairs, conferences, and meetings. Over the last ten days, we have been posting resources on our twitter feed and on CAA News to help those affected by this health crisis.
For the health and well-being of our staff, we have moved to working remotely. That means that our offices in New York City are closed until further notice.
If you have questions about your membership, please email us at firstname.lastname@example.org, as we will be checking our voicemails infrequently. Please be patient with your request as we navigate this new way of working under extraordinary circumstances.
Above all, please remain safe and healthy!
Nina Lubbren discusses Jean-Léon Gérôme and the Crisis of History Painting in the 1850s by Gülru Çakmak. Read the full review at caa.reviews.
Yanhua Zhou writes about Meiqin Wang’s Socially Engaged Art in Contemporary China: Voices from Below. Read the full review at caa.reviews.
Ron E. Reichman reviews the SFMOMA exhibition and catalog April Dawn Alison. Read the full review at caa.reviews.
posted by CAA — March 12, 2020
The CAA Advocacy Committee approved the following statement in March 2020.
CAA condemns the termination of employment for graduate student strikers at the University of California, Santa Cruz, calls for their reinstatement, and urges the university to commence negotiations with the students as soon as possible. This action has affected graduate students in the visual arts, which will impact their lives in serious ways, including the loss of medical insurance and residency status. We consider that their demands for an appropriate augmentation of salary in line with the increased costs of living are legitimate and note that they now have the support of the UAW, with whom the university is contracted.
Graduate students are indispensable workers who cannot be expected to execute their teaching duties and to pursue their own research when housing and food costs are not affordable with their current wages. CAA maintains that graduate students should be compensated at a level that makes it possible for them to flourish on campus as research assistants, teachers, and emerging scholars. A fair wage correlated with cost of living increases is a necessary precondition for their own work, essential to fulfilling the educational mandate of their departments, and essential for the dignity of all workers at the university. To punish students for exercising their rights to demand a decent wage is, in our view, unjust and unacceptable, and all penalties should be reversed immediately.
UC Graduate Students Threaten More Strikes as Movement Grows (Los Angeles Times)
Why We’re Striking for Fair Teaching Wages at UC Santa Cruz — Even With a Baby on the Way (Washington Post)
California University Fired 54 Grad Students Who Were Striking for Higher Pay (CNN)
Why Graduate Students at UC Santa Cruz Are Striking (New York Times)
CAA Standards and Guidelines for Part-Time Professional Employment (CAA)