CAA News Today
Explore RAAMP’s Resources on the CAA Website
posted by CAA — July 30, 2020
RAAMP (Resources for Academic Art Museum Professionals) has a new home! Moving forward, you can find all the resources you know and love here on our website at: collegeart.org/raamp
A project of CAA with support from the Andrew W. Mellon Foundation and the Samuel H. Kress Foundation, RAAMP aims to strengthen the educational mission of academic museums and their parent organizations by providing a publicly accessible repository of resources, online forums, and relevant news and information. RAAMP’s coffee gatherings and video practica cover a wide variety of topics including advocacy, engagement, curricula building, cross-disciplinary collaboration, technology, development, and censorship.
To receive updates and invitations to upcoming RAAMP programming, sign up for the RAAMP mailing list.
For any questions regarding the RAAMP program, please contact Cali Buckley, grants and special programs manager, at: cbuckley@collegeart.org
News from the Art and Academic Worlds
posted by CAA — July 29, 2020
A nearly empty Harvard Yard at Harvard University in Cambridge, Massachusetts on July 8, 2020. Photo: Tony Luong/NYT
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CWA Picks for July 2020
posted by CAA — July 28, 2020
Sonya Kelliher-Combs (Native American, b. 1969) Mark, Polar Bear, 2019. Acrylic polymer, polar bear fur, fabric flag, metal brackets, 40 x 65 in. © 2019 Sonya Kelliher-Combs. Courtesy of the artist and Minus Space.
In response to COVID-19, artists, institutions, and organizations have initiated virtual exhibitions, presentations, screenings, and curated newsletters, among other innovative approaches, welcoming the public to online platforms and opening dialogues on a range of topics. May and June 2020 CWA Picks presented a number of initiatives that demonstrated ways in which social media channels and websites can be repurposed in light of social distancing measures currently in place; these Picks emphasized the social role of the arts as a healing positive force during these challenging times. As protests about systemic racism and structural injustices raged globally, museums and institutions were inclined to acknowledge their fundamental accountability and engagement in the misrepresentation or excision of Black and Indigenous histories from white imperialist and colonial narratives, including the prevalent or implicit use of racist language and practices. As the world witnesses and participates in “good trouble” and social unrest, our July Picks cover a range of online and in-person exhibitions and events and strike a balance between feminist ecologies of care and political activism. At this unprecedented historical juncture, some art spaces have opened their doors to audiences and slowly resumed activities, enforcing precautions and timed visits:
- ecofeminism(s) curated by Monika Fabijanska at Thomas Erben Gallery (7.19.20-7.24.20) takes us on a visual journey of the pioneering environmental art works of the 1970s and 80s through the present. Countering patriarchal and corporate structures and philosophies, many artists engage scientific and analytic approaches to experimental practices, utilizing photographic documentation, archives, time-based media, and ritual performances. Advancing principles of spiritual feminism, feminist metaphors of the Great Goddess and Cosmic Mother, and anti-nuclear activism, among other social and technological positions, the early eco–feminists underscore earth’s fragility and vulnerability—thinly veiling our fears and prophetically imagining our current global crises and pandemic—yet glimmers of care, community, and agency strikingly emerge. As an intergenerational show presenting contemporary women artists making ecological art, Fabijanska proposes, “What makes today’s female environmental artists ‘ecofeminists’?” Artists include Andrea Bowers, Helène Aylon, Eliza Evans, Sonya Kelliher-Combs, Hanae Utamura, Betsy Damon, Aviva Rahmani, Jessica Segall, Lynn Hershman Leeson, Bilge Friedlaender, Carla Maldonado, Mary Mattingly, Cecilia Vicuña, Barbara Kruger, and Agnes Denes. Public programming with Zoom conversations between artists, art historians, and critics: July 8, July 15, and July 22.
- Earthkeeping, Earthshaking – art, feminisms and ecology (Earthkeeping/Earthshaking – arte, feminismos e ecologia), curated by Giulia Lamoni and Vanessa Badagliacca at Galerias Municipais (Galeria Quadrum) in Lisbon (7.25.20-10.4.20) takes its title from the thirteenth issue of the pioneering US feminist art magazine called Heresies (1981) published by the feminist collective. Lucy Lippard, Ana Mendieta, and Faith Wilding, among other contributors to this issue, raised complex points around the following question: ‘What can women do about the disastrous direction the world is taking?’ Curators Lamoni and Badagliacca return to this pressing question in a global 21st-century context by reframing ideas of capitalism, colonialism, and current environmental pressures, further exploring a Portuguese perspective. Earthkeeping, Earthshaking presents radical feminist artists from the 1970s through the present day: Alexandra do Carmo, Alicia Barney, Ana Mendieta, Bonnie Ora Sherk, Cecilia Vicuña, Clara Menéres, Emilia Nadal, Faith Wilding, Gabriela Albergaria, Gioconda Belli, Graça Pereira Coutinho, Irene Buarque, Laura Grisi, Lourdes Castro. Maren Hassinger, Maria José Oliveira, Mónica de Miranda, Rui Horta Pereira, Teresinha Soares, Uriel Orlow.
- AWARE (Archives of Women Artists Research & Exhibitions) has launched the podcast Woman House in response to the pandemic. Each episode invites a female narrator to read stories and texts by women writers on the broad theme of confinement. For example, hear Virginia Woolf’s To the Lighthouse read by Julie Wolkenstein; Céleste Albaret’s Monsieur Proust read by Jeanne Balibar; and Marguerite Dumas’s Writing read by Camille Morineau.
- Virtual Views: Faith Ringgold at MoMA explores Ringgold’s extraordinary position in the sixties as an African-American woman painter and offers personal commentary about cultural identity and documentation during the civil rights movement. Ringgold’s American People Series #20: Die, a masterpiece from the museum collection, visualizes the realities of race, police brutality, and violence, and makes direct references to Picasso’s Guernica.
- Not Yet Written Stories is an online archival repository of avant-garde women artist practices (documentation, exhibitions, conferences, publications), supported by workshops and conferences. Managed by the SCCA-Ljubljana Center for Contemporary Arts, Arton Foundation, Warsaw, and Latvian Center for Contemporary Art (Riga), Office for Photography, Zagreb.
- Whitechapel Gallery offers an instructional list of audio resources (podcasts and audiobooks) on Black Lives Matter.
- Carla Repice: The White Problem Redux, an online exhibition at Equity Gallery, highlights the “optics of whiteness and the ways in which white supremacy virally replicates itself in visual culture,” according to the accompanying online essay by Ronika McClain. Repice’s intimate, gestural figurative paintings unveil quick glimpses into childhood, focused sharply on youth and education as primary source material for the formulation of implicit racism, symbols, and narratives. Public programming includes a series of poetry readings by Black writers, organized by poet Maya Pindyck.
New in caa.reviews
posted by CAA — July 24, 2020
David Haberstich considers the exhibition catalog Working Together: Louis Draper and the Kamoinge Workshop by Sarah L. Eckhardt. Read the full review at caa.reviews.
Laurence Schmidlin discusses Christina Weyl’s The Women of Atelier 17: Modernist Printmaking in Midcentury New York. Read the full review at caa.reviews.
New in caa.reviews
posted by CAA — July 17, 2020
Stephanie Nadalo discusses the Louvre retrospective Léonard de Vinci. Read the full review at caa.reviews.
Akiko Walley writes about Word Embodied: The Jeweled Pagoda Mandalas in Japanese Buddhist Art by Halle O’Neal. Read the full review at caa.reviews.
FAQs for the 2021 Annual Conference
posted by CAA — July 16, 2020
We will update this page frequently. Thanks for your patience and flexibility!
This information is current as of September 10, 2020.
Why are we changing the conference format?
As we announced in our letter to CAA members, since the COVID-19 pandemic began, CAA’s prime consideration for planning the 2021 conference has been the health and safety of our membership and our communities. Even as parts of our world begin to “reopen,” we face many unknowns on what the state of health and safety will be in February.
We had hoped to convene a fully in-person conference in New York this February 10–13, 2021. However, the pandemic and uncertainty of the months ahead—as well as increasing economic pressures on institutions and individuals, leading to diminished funds for professional development and travel—have caused us to rethink our plans.
How did CAA come to this decision and why decide now?
Our decision was informed by a robust response (almost 1,200 replies!) to a survey sent to members in May regarding their ideas about CAA hosting an online conference. Exceptionally useful feedback was provided in terms of what types of activities would be appealing to attend online, the value of in-person gatherings, and what price points seem reasonable. We are building on what you shared with us.
There are many factors in determining the costs and benefits of going online; these are currently being evaluated by CAA staff and will continue to be addressed as we move forward. But making this decision now allows staff and the Annual Conference Committee time to plan for an iteration of the conference that will ensure the core benefits of the event are maintained: opportunities to share new research, listen to esteemed artists, designers, and scholars, and connect with peers.
What will the conference look like?
The program will include conference sessions online. We are also looking at ways to present other conference activities in person, depending on the state of the pandemic in early 2021.
After the Annual Conference Committee selects sessions to be included in the program, we will build a four-day conference with the same basic structure as the usual in-person conference, possibly with fewer sessions per day. We are also considering an extended schedule for sharing virtual sessions; the details of this will be determined in August, after the sessions are selected.
We are currently exploring options for other aspects of the conference (e.g., the Book and Trade Fair, Workshops, poster sessions, receptions) and will know more once the session content is scheduled.
We are taking into account the many concerns members have expressed about virtual presentations, such as sharing scholarship online, the challenges of different time zones, and “Zoom fatigue.”
Lastly, we will be surveying those whose sessions are accepted for the Annual Conference to understand technical and practical preferences for presenting their work so that we can address everyone’s particular needs and concerns.
We thank you for your patience as we address these issues. Please stay tuned for more details.
How has this affected the key dates for the conference?
Our submissions timeline was affected by the spring COVID-19 crisis and pushed back the overall planning process by roughly a month. The updated key dates are posted on the conference website and can be found at the bottom of the proposals page.
When will I know if my proposal has been accepted?
The Annual Conference Committee is currently reviewing the 800-plus proposal submissions and is on schedule to select those that will be included in the conference program. This process will be completed by mid– to late August and members whose submissions have been accepted will be notified.
Can I still submit a proposal/paper?
Yes. While the portal has closed for session submissions for CAA 2021, there are still ways to submit.
- Sessions inviting a call for participation (CFP) will be open from August 12 to September 16, 2020. A list of accepted sessions that are soliciting contributors and their abstracts will be posted at the beginning of August on the CAA website. VISIT HERE for more information. The chairs of accepted sessions that are soliciting contributors will accept proposals directly from submitters by September 23.
- Visit Call for Proposals for posters sessions and Workshops and related deadlines and participation requirements.
How will papers be delivered during CAA2021?
Session presenters will upload their prerecorded presentations, which conference registrants may access online shortly before and through the conference dates. Live Q&A will be scheduled for each session between February 10 and 13, providing the collegial, interactive, and accountable engagement created by attending sessions as a community. Questions about session presentations may be submitted to session chairs after viewing a session in advance of the scheduled live Q&A. Uploaded content will be accessible to registrants for a limited time after the conference dates. We will provide detailed information for presenters and attendees closer to the conference.
I have questions and concerns about presenting virtually and sharing my work. If I’m accepted, what can I do to prepare?
CAA and our technical support team will share guidelines for preparing for virtual sessions, including preconference webinars to walk both presenters and audience members through the technology of participation.
CAA’s Annual Conference Committee, legal counsel, and staff are working on protocols and guidelines regarding best practices to protect the intellectual property of participants. This information will be made available on the CAA website in early fall.
When will the conference website open and registration begin?
The Annual Conference website will go live in November 2020. At that time, you will see the session listings and details on other conference programming. You may also register for the conference at that time.
Will conference registration and fees change?
Registration options and fees will be posted in early November 2020. Information provided by the conference survey will help determine the fee structure.
In order to present at the Annual Conference, you must be a current CAA member and also registered for the conference.
What will be free and open to the public for CAA2021?
Programming by the Services to Artists Committee and the Student and Emerging Professionals Committee will be free and open to the public. A full list of free and open programming will be noted on the Annual Conference website when it opens in November 2020.
HAVE ANOTHER QUESTION?
For FAQs about Annual Conference Logistics, Submissions, Conference Registration, Membership, and Calls for Participation, VISIT HERE.
STILL HAVE A QUESTION?
We know we may not have answered all of your questions. Please let us know! Email questions to programs@collegeart.org.
We will update this page frequently. Thanks for your patience and flexibility!
An Update on the 2021 Annual Conference
posted by CAA — July 16, 2020
Dear CAA Members,
As you will hear Meme Omogbai, CAA executive director, say time and time again, “Mission first. People always.” So we start this letter with the wish that you are safe, healthy, and finding some time for self-care this summer.
We are writing to share where we are in planning the 109th CAA Annual Conference. We had hoped to celebrate the vast scholarship and practice of CAA members at a fully in-person conference in New York this February 10–13, 2021. The COVID-19 pandemic and the uncertainty of the months ahead—as well as increasing economic pressures on institutions and individuals, leading to diminished funds for professional development and travel—have caused us to rethink our plans.
We are now moving to a conference format that will include session content online. There are many factors in determining the costs and benefits to going online; these are currently being worked on by CAA staff and will continue to be addressed as we move forward. But making this decision now allows staff and the Annual Conference Committee time to plan for an iteration of the conference that will ensure the core benefits of the event are maintained: opportunities to share new research, listen to esteemed artists, designers, and scholars, and connect with peers. We are also looking at ways to present the in-person activities, dependent upon the state of the pandemic in early 2021. Thank you for your patience and flexibility over the next couple of months as the planning continues. We are creating a list to address your frequently asked questions; please email questions to programs@collegeart.org or to us personally.
SEE FAQS FOR 2021 ANNUAL CONFERENCE
Our decision was informed by a robust response (almost 1,200 replies!) to a survey sent to members in May regarding their ideas about CAA hosting an online conference. Exceptionally useful feedback was provided in terms of what types of activities would be appealing to attend online, the value of in-person gatherings, and what price points seem reasonable. We are building on what you shared with us.
The Annual Conference Committee is currently reviewing the 800-plus proposal submissions and is on schedule to select those that will be included in the conference program. Our committees and staff are working hard to create a diverse and inclusive program and one that is broadly accessible.
While this time is filled with uncharted unknowns and anxieties, this is also an opportunity for us to build the organization that we want CAA to be. If you have the ability to give, we ask for your generosity. If you are able to give financially, wonderful—we need that help. Donations are not the only way to participate in our organization, however. We want your energy and your ideas. If you have connections and resources to share, we welcome them. If you know people who could benefit from our community, please spread the word. We are an organization of members. Join us.
CAA is an incredible coalition of individuals and institutions. If we have learned anything from the pandemic, it is that virtual platforms can allow us to communicate broadly and across borders. Difficult conversations can take place and together we can move forward and create an organization that advocates, shares, and brings others along with us.
Sincerely yours,
N. Elizabeth Schlatter
President, CAA
Deputy Director, University of Richmond Museums, Virginia
Meme Omogbai
Executive Director and CEO
Meet the 2020 Recipients of Terra Foundation for American Art Research Travel Grants
posted by CAA — July 13, 2020
Last year we announced our administration of the Terra Foundation for American Art Research Travel Grants, providing support to doctoral, postdoctoral, and senior scholars from both the US and outside the US for research topics dedicated to the art and visual culture of the United States prior to 1980.
We’re delighted to announce twenty-four scholars have been awarded Terra Foundation for American Art Research Travel Grants in 2020.
International Research Travel Grants for US-based Scholars
Doctoral Scholars
Zoë Colón, University of Delaware, “Human-Animal Collaboration and Resilience in Modern Native American Art”
Katie Loney, University of Pittsburgh, “Lockwood de Forest, The Ahmedabad Wood Carving Company, and the Global Circulation of Luxury Goods”
Colin Young, Yale University, “Desert Places: The Visual Culture of the Prairies and Pampas across the Nineteenth Century”
Postdoctoral & Senior Scholars
Catherine Damman, Wesleyan University, “The Work of Art in the Age of Half-Hearted Reproducibility: Performance and Affective Labor in the 1970s”
Nika Elder, American University, “John Singleton Copley and The Culture of Slavery”
Patricia Hills, Boston University, “Eastman Johnson Project”
Joseph Larnerd, Drexel University, “Undercut: Rich Cut Glass in Working-Class Life during the Gilded Age”
Emily Moore, Colorado State University, “Art of the Southern Tlingit”
Dalila Scruggs, Independent Scholar, “Activism in Exile: Elizabeth Catlett as Activist and Artist in the Global Sixties”
International Research Travel Grants to the United States
Doctoral Scholars
Gabriella Beckhurst, University College of London, United Kingdom, “Leave No Trace: Environment, Identity and Affect in Artists’ Video, Photography and Performance”
Julia Berghoff, Eberhard Karls University Tübingen, Germany, “US-American Landscape Painting in the 19th Century and the Interaction of Art and Science or the Question of Environmental Awareness”
Jean Capeille, University Paris 1 Panthéon-Sorbonne, France, “Vaudeville Culture and American Experimental Art (1960–1980)”
Chloe Julius, University College of London, United Kingdom, “On the Re-emergence of an Old Category: Precursors for 1990s ‘Jewish Art’ in Postwar American Art and Criticism”
Victoria Marquez, University Paris 1 Panthéon-Sorbonne, France, “Art Exhibitions as a Diplomatic Instrument: France vs the United States in the Latin American Cultural Front”
Postdoctoral & Senior Scholars
Fiona Anderson, Newcastle University, United Kingdom, “Dog Years: Queer Solidarity, Urban Renewal, and New York’s Canine Imaginary”
Vanessa Badagliacca, Universidade Nova de Lisboa, Portugal, “Lighting up the Backstage: Heresies Journal and the Encounter with Art, Ecology and Feminism (1979-1981)”
Luca Bochicchio, University of Genoa, Italy, “Ceramic Sculpture at the End of Modernism: American and European Clay Revolution 1950s–1960s”
Sria Chatterjee, Max-Planck Kunsthistorisches Institut, Germany, “Modernist Countercultures: Cold War Ecologies of Art and Design between the United States and India”
Agustin Diez, Centro de Estudios Espigas, Argentina, “Corporeal Translations: Performance and Media as Cultural Exchange between Buenos Aires and New York, 1961 to 1978”
Jessica Gogan, Independent Scholar, Brazil, “Radical Art and Pedagogy in the 1960s and 70s: Allan Kaprow and Herbert Kohl’s Project Other Ways, Berkeley, CA, 1969”
Zhang Jian, China Academy of Art, China, “Chinese Traditional Painting and American Modern Art in the Early 20th Century: An Investigation of Some American Modern Artists and Their Worlds of Chinese Art”
Giulia Lamoni, Universidade Nova de Lisboa, Portugal, “Heresies Magazine as a Transnational Space of Connection (1977-1981)”
Stephanie Schwartz, University College of London, United Kingdom, “The Native and the National: Documentary and Fascism in the Era of the New Deal”
Monica Steinberg, University of Hong Kong, Hong Kong, “Inventing Lives: Fictional Artistic Practice in the Shadow of Cold War Hollywood”
Learn more about the Terra Foundation Research Travel Grants
New in caa.reviews
posted by CAA — July 10, 2020
Gayle Clemans reviews the exhibition In Plain Sight at Henry Art Gallery, Seattle. Read the full review at caa.reviews.
Robert Bork considers Dany Sandron and Andrew Tallon’s Notre Dame Cathedral: Nine Centuries of History. Read the full review at caa.reviews.
RAAMP Coffee Gathering: Participatory Conversation on Reimagining Engagement in Academic Art Museums
posted by CAA — July 09, 2020
Coffee Gathering: Reimagining Engagement in Academic Art Museums
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RAAMP Coffee Gatherings are monthly virtual chats aimed at giving participants an opportunity to informally discuss a topic that relates to their work as academic art museum professionals. Learn more here.
Submit to RAAMP
RAAMP (Resources for Academic Art Museum Professionals) aims to strengthen the educational mission of academic art museums by providing a publicly accessible repository of resources, online forums, and relevant news and information. Visit RAAMP to discover the newest resources and contribute.
RAAMP is a project of CAA with support from the Andrew W. Mellon Foundation and the Samuel H. Kress Foundation.