CAA News Today

CAA 2022 Awards for Distinction

posted by January 24, 2022

CAA announces the 2022 recipients of Awards for Distinction. By honoring outstanding member achievements, CAA reaffirms its mission to encourage the highest standards of scholarship, practice, connoisseurship, and teaching in the arts. With these annual awards, CAA seeks to honor individual artists, art historians, authors, museum professionals, and critics whose accomplishments transcend their individual disciplines and contribute to the profession as a whole and to the world at large.

Among the awards, the Distinguished Artist Award for Lifetime Achievement is presented to Betye Saar who has not only forged a singular practice for six decades but has also influenced generations of artists, makers, and thinkers. Calling upon the legacies of artists like Joseph Cornell, her symbolic and potent assemblages, of which she’s best known, reflect on the lives, experiences, and identities of African Americans, spirituality, and cultural connectivity.

The Distinguished Lifetime Achievement Award for Writing on Art is presented to Wu Hung. Perpetually interested in the shape of time, in relation to the time of the world, he has authored many books, essays, and exhibition catalogues that bring Chinese visual culture into different orders of focus, taking into account the changing conditions of tombs, screens, performances, and protests. The scope of his work has an epic quality, allowing arguments to unfold across centuries without losing sight of the very human presence of artists and audiences.

Art Journal Award 

David J. Getsy and Che Gossett, “A Syllabus on Transgender and Nonbinary Methods for Art and Art History,” Art Journal, vol. 80, no. 4 (Winter 2021): 101-115.


Alfred H. Barr Jr. Award  

Robert Cozzolino, ed. Supernatural America: The Paranormal in American Art, University of Chicago Press, 2021.


Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions  

Sarah M. Miller, Documentary in Dispute: The Original Manuscript of Changing New York by Berenice Abbott and Elizabeth McCauslandRyerson Image Centre/MIT Press, 2020. 


Frank Jewitt Mather Award  

Kaira M. Cabañas, Immanent Vitalities: Meaning and Materiality in Modern and Contemporary Art. University of California Press, 2021. 


Charles Rufus Morey Book Award 

Elina Gertsman, The Absent Image: Lacunae in Medieval Books, Penn State University Press, 2021.


Arthur Kingsley Porter Prize 

Marius B. Hauknes, “Painting against Time: Spectatorship and Visual Entanglement in the Anagni Crypt,” The Art Bulletin, vol. 103, no.1 (February 2021): 7-36.

Artist Award for a Distinguished Body of Work  

Kent Monkman   


CAA/AIC Award for Distinction in Scholarship and Conservation 

Zahira Véliz 


Distinguished Artist Award for Lifetime Achievement 

Betye Saar 


Distinguished Lifetime Achievement Award for Writing on Art 

Wu Hung 


Distinguished Feminist Award – Artist  

In lieu of the Distinguished Feminist awards, we will recognize leaders in the field of feminist art and art history in our 2022 programming highlighting the 50th Year Anniversary of feminism at CAA. 


Distinguished Feminist Award – Scholar 

In lieu of the Distinguished Feminist awards, we will recognize leaders in the field of feminist art and art history in our 2022 programming highlighting the 50th Year Anniversary of feminism at CAA. 


Distinguished Teaching of Art Award 

Fred Hagstrom 


Distinguished Teaching of Art History Award 

Terry Smith 


Excellence in Diversity Award  

Valerie Cassel Oliver



Art Journal Award 

David J. Getsy and Che Gossett, “A Syllabus on Transgender and Nonbinary Methods for Art and Art History,” Art Journal, vol. 80, no. 4 (Winter 2021): 101-115.

In organizing a course of study predicated on the ontological challenge to discourses of art offered by trans and nonbinary positions, David J. Getsy and Che Gossett have generously identified a major lacuna in the field and provided a toolkit for its amelioration. The jury unanimously selected their “A Syllabus on Transgender and Nonbinary Methods for Art and Art History” as the most distinguished contribution to the Art Journal in 2021. The syllabus not only identifies, positions, and summarizes critical scholarship in the field of transgender and nonbinary studies, it also demonstrates the fruitful integration of pedagogy and emerging research methodologies. Noting the relative dearth of art historical scholarship that has taken up trans methods and histories, the authors suggest the ways in which key themes and terms from art might be critically reevaluated in light of transgender studies. An introduction to each section’s bibliography synthesizes complex debates and individual arguments with remarkable clarity. Sensitive to the necessary intersections of trans analytics with critical approaches to race, ability, and class, the authors highlight readings from Black feminist thought and abolition optics, among other transversal concerns, that elucidate points of fracture within and strategies of resistance to the regulatory gender binary. At once rigorous and accessible, Getsy and Gossett’s contribution offers an adaptable blueprint for researchers and educators. 

Omar Kholeif, Sharjah Art Foundation 
Tilo Riefenstein, School of the Arts, York St John University 
Phil Taylor, Queens College (Chair) 


Alfred H. Barr Jr. Award 

Robert Cozzolino, ed. Supernatural America: The Paranormal in American Art, University of Chicago Press, 2021.

America is haunted. Genocidal policies unleashed on Native Americans; the horror of the transatlantic slave trade; war, racism, and social injustice; dark passages in community and individual histories – these traumas and more have left behind a trail of spirits. Taking as its topic the paranormal in American art, Supernatural America reveals the myriad ways in which citizens and artists have sought to see, understand, or come to terms with the ghosts of the past. Lavishly illustrated, with many images never seen before, Supernatural America breaks new ground in presenting the paranormal as a historical subject of wide-ranging importance. Incisive essays by scholars and artists cover painting and sculpture from the late 18th century to the present, spirit photography, art channeled through mediums, spiritualist paraphernalia, folk and outsider art, UFO-inspired materials, video and installation from a range of perspectives. This revealing, thought-provoking investigation into an emerging scholarly field gives proof to William Faulkner’s well-known line: ‘The past is never dead. It’s not even past’. 

Susan Aberth, Bard College 
Benjamin Anderson, Cornell 
Karen Lang, University of Arizona 
Andrew Saluti, Syracuse University (Chair) 
Joyce Tsai, University of Iowa, Stanley Museum of Art 


Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions 

Sarah M. Miller, Documentary in Dispute: The Original Manuscript of Changing New York by Berenice Abbott and Elizabeth McCauslandRyerson Image Centre/MIT Press, 2020. 

In 2015 the Ryerson Image Centre acquired the archives of Berenice Abbott, including more than 6000 photographs and 7000 negatives, her papers, correspondences, and manuscripts. One of the key figures in the history of documentary photography, Abbott is now known as an archivist as well as an artist. It was Abbott who preserved Eugene Atget’s archives at the end of the twenties and published his work.  Her own photographs, taken while working for the WPA, consolidated her reputation as a documentary photographer.  What exactly is that reputation? In order to answer that question, Documentary in Dispute meticulously reconstructs the manuscript of the book Changing New York, first published in 1939 by Dutton & Co, with photographs by Berenice Abbott and text by renowned art critic Elizabeth McCausland. In a tour de force of archival research and scholarly presentation, Sarah M. Miller reveals how the project was altered to obscure the aesthetic, political and ethical values of photographer and author. Miller’s beautifully written, highly focused essay on Abbott and McCausland situates them in an international avant-garde which recognized the potential of image and text to transform, even to break, our habits of seeing and being.  Miller’s overall approach recalls Walter Benjamin’s own in the 1930s.  Not coincidentally, Benjamin was inspired by Abbott’s archival and photographic achievements.  

Susan Aberth, Bard College 
Benjamin Anderson, Cornell 
Karen Lang, University of Arizona 
Andrew Saluti, Syracuse University (Chair) 
Joyce Tsai, University of Iowa, Stanley Museum of Art 


Frank Jewitt Mather Award 

Kaira M. Cabañas, Immanent Vitalities: Meaning and Materiality in Modern and Contemporary Art. University of California Press, 2021. 

The jury has unanimously selected Kaira M. Cabañas’ Immanent Vitalities: Meaning and Materiality in Modern and Contemporary Art. Cabañas has written a highly readable volume addressing the material relations between objects and subjects as well as addressing the limiting institutional conventions of academic art history. Her work draws upon theories of new materialism, an animating force that, when attended to, requires rethinking binary categories such as living and inert or life and matter. Cabañas’ volume traverses histories and hemispheres: from the perceptual doubts engendered by the force of color in Alejandro Otero’s paintings to the enmeshed material contingencies of Gego’s metal sculptures, from the sensorial therapeutic propositions of Lygia Clark’s relational objects to the curatorial entanglements of Alessandro Balteo-Yazbeck’s challenges to the grid, and from the affective agencies Mario Pedrosa located in the paintings of Djanira da Motta e Silva to the documented rituals of care obfuscating boundaries between the organic and the inorganic in Mathues Rocha Pitta’s Polaroids. Cabañas proposes an alternative to the kind of nation-bounded analyses that often burden studies of modern and contemporary art of Latin America. She addresses academic art history’s tendency to isolate along geographic lines, marginalizing practices and scholarship. Cabañas’ text thus models a critical strategy for assessing not just artworks but the field itself. 

Julia Bryan-Wilson, University of California, Berkeley 
Kim Theriault, Dominican University 
Andrew Wasserman, Dominican University (Chair) 


Charles Rufus Morey Book Award

Elina Gertsman, The Absent Image: Lacunae in Medieval Books, Penn State University Press, 2021.

Countering the customary interpretation of late medieval art as relentlessly profuse and exuberant, Elina Gertsman’s The Absent Image: Lacunae in Medieval Books, explores different constructions of emptiness ranging from the presentation of voids in illustrations to represent the unrepresentable to the deliberate inclusion of physical holes in manuscript pages designed to reveal portions of other pages. Gertsman’s investigation of the “fecundity of emptiness” is a generative and compelling topic for scholars of art history/visual studies across areas, both within and outside Medieval Studies. She argues and demonstrates that, between 1200s and 1500s, the broad circulation of scientific thought and its engagement with theology and formal and literary discourses on emptiness, absence, and negation account for visual, cognitive, and material expressions on the pages of medieval books. Cross-disciplinary in its approach, Gertsman’s book simultaneously draws attention to the visual and material aspects of the manuscripts, phenomenological experience, and philosophical, religious, and scientific theories of the period. In doing so she uncovers an unexpected kinship between the medieval artists and the modernist avant-garde, where the void is regarded as the locus of the sublime and of boundless possibility. Her erudite writing and compelling approach to the subject poses questions throughout that magnify the relevance of her study and stimulate personal inquiry—as a reader reflects on other areas of consideration across time called out in the text. The book is lavishly illustrated and artfully designed with a shape and size complementary to the subject of study.  

John Cunnally, Iowa State University 
Christina Hellmich, Fine Arts Museums of San Francisco 
Laura Anne Kalba, University of Minnesota
Lisa D. Schrenk, University of Arizona 
Dorothy Wong, University of Virginia (Chair) 


Arthur Kingsley Porter Prize 

Marius B. Hauknes, “Painting against Time: Spectatorship and Visual Entanglement in the Anagni Crypt,” The Art Bulletin, vol. 103, no.1 (February 2021): 7-36.

Marius Hauknes offers a riveting and multi-layered interpretation of the role of spectatorship in the production of meaning in the 13th-century crypt of the Anagni Cathedral. Rather than consider a viewer as a passive onlooker, he devotes attention to multiple aspects of embodied spectatorship: movement, (shifting) angles/perspectives, (in)visibility, temporality, and knowledge. These offer a powerful vantage point from which to consider the intersection of the painting program with the body itself. Drawing attention to contemporary concerns and interests in the body’s health, its cognitive capacities (and limits), and its place in the universe, Hauknes places the paintings into conversation with medicine and astrology. The images emerge as intellectual acts in a religious and political setting that grappled with problems of temporality and being. Hauknes evinces deep and extensive scholarly research, and is able to draw precise and appropriate insights from contemporary cultural and historical contexts, without losing focus on the artwork itself. While offering compelling readings of specific scenes — showing how they could connect, overlap, or echo with one another — Hauknes posits that comprehensive spectatorship was not possible. Instead, human comprehension and temporality contrasts with the divine, creating a space for reflection on the need for medicine and astrology. 

Nathan T. Arrington, Princeton University (Chair) 
Susanna Berger, University of Southern California 
Rachel Miller, California State University, Sacramento 


Artist Award for a Distinguished Body of Work  

Kent Monkman   

There is a long-standing history in the visual arts of artists bearing witness to atrocities: Goya’s painting “The Third of May,” Picasso’s “Guernica,” to name but two. Toronto-based Cree artist Kent Monkman’s exhibition “Shame and Prejudice: A Story of Resilience” follows this tradition, with a few notable updates. On the occasion of Canada’s 150th anniversary in 2017, Monkman’s paintings featured in a cross-country touring exhibit that culminated at the University of British Columbia’s Museum of Anthropology, August 6, 2020 – January 3, 2021, provides a searing critique of Canada’s colonial policies past and present, including, in the artist’s accounting: “the signing of the numbered treaties, the reserve system, genocidal policies of the residential schools, mass incarceration and urban squalor.” This is a body of work that, though tackling a grim subject matter, is often a blend of subversive humor, fantasy, and homoeroticism. And, although appropriating the form of Western history painting, Monkman’s artwork breaks from tradition by subverting and de-centering the Western gaze and re-presenting a perspective of history from the vantage point of the Indigenous peoples. Albeit, a history filtered through the particular lens of an artist who identifies as both queer and two-spirit, and through his trickster alter-ego, Miss Chief Share Eagle Testickle, the protagonist within much of Monkman’s paintings and performances. Through his use of history painting, Monkman’s project is one that reminds us of the potency of images, and the potential of the artist to provoke and challenge history and its representations.   

Stephen Fakiyesi, Independent Artist, Toronto 
Jessica Hong, Hood Museum, Toledo Art Museum 
Beauvais Lyons, University of Tennessee, Knoxville, (Chair) 


CAA/AIC Award for Distinction in Scholarship and Conservation

Zahira Véliz 

Zahria (Soni) Véliz has enhanced our understanding of art through her numerous, scholarly publications to the fields of art history and paintings conservation. Dr. Véliz has strengthened the methodological approaches of scholars who work on Spanish artists and Franz Kline through her publication record as well as her generosity as a colleague. 

Through the translation and dissemination of Spanish texts, Dr. Véliz’s has made contemporaneous information about early modern painting accessible to researchers who do not read Spanish. Artists Techniques in Golden Age Spain (1987) is often cited in technical studies of Spanish paintings. More recently, Dr. Véliz edited a translation of Jusepe Martínez’s 1673-75 Practical Discourses on the Most Noble Art of Painting (2017). These publications, along with others by Dr. Véliz on subjects including blue pigments, wooden panels, and drawing practice, have been foundational to the study of Spanish art in the United States. 

Dr. Véliz’s PhD dissertation on Alonso Cano served as a foundation for many publications on the artist. In addition, Dr. Véliz’s knowledge and skills of connoisseurship regarding Spanish drawing enriched her drawings catalogues for the Courtauld Institute of Art in London and the Museo de Bellas Artes in Asturias. As Senior Paintings Conservator for the Museum of Fine Arts, Houston, Dr. Véliz published her research into a newly attributed painting to Diego Velázquez as well as technical and art historical research on Franz Kline’s paintings that are models of collaborative research.  

Committee Members: 
Jim Coddington, American Institute of Conservation  
Tiarna Doherty, University of Delaware, (Chair)  
Fernanda Valverde, Amon Carter Museum 


Distinguished Artist Award for Lifetime Achievement  

Betye Saar  

Betye Saar (b. 1926, Los Angeles, CA) has not only forged a singular practice for six decades but has also influenced generations of artists, makers, and thinkers. Calling upon the legacies of artists like Joseph Cornell, her symbolic and potent assemblages, of which she’s best known, reflect on the lives, experiences, and identities of African Americans, spirituality, and cultural connectivity. Part of the broader Black Arts Movement in the 1970s, Saar also confronted issues of racism and sexism in groundbreaking and radical works like The Liberation of Aunt Jemima (1972). Saar contends the continual thread in her work is her “curiosity about the mystical.” As she wrote in 1998, “I am intrigued with combining the remnant of memories, fragments of relics and ordinary objects, with the components of technology. It’s a way of delving into the past and reaching into the future simultaneously. The art itself becomes the bridge. Curiosity about the unknown has no boundaries. Symbols, images, place and cultures merge. Time slips away. The stars, the cards, the mystic vigil may hold the answers. By shifting the point of view an inner spirit is released. Free to create.” By foregrounding the mystical, Saar sees people, cultures, contexts, temporalities as part of a larger, interconnected spiritual fabric, an understanding that is needed in a time of extreme ideological polarization, inequities, and geopolitical strife. Saar and her practice continue to resonate and inspire current generations and those to come.  

Stephen Fakiyesi, Independent Artist, Toronto 
Jessica Hong, Hood Museum, Toledo Art Museum 
Beauvais Lyons, University of Tennessee, Knoxville, (Chair) 


Distinguished Lifetime Achievement Award for Writing on Art 

Wu Hung  

Trained in both China and the United States, Wu Hung’s writing brings perspectives native to both cultures to bear on aesthetics, art history, and archaeology.  His arguments ground the cultures of China, from the earliest ancient survivals to the interventions of our own time in structures of mind that defy the progress narratives of the West.  He has received countless awards for work that has transformed the study of East Asian art and drawn attention to the relationship between images and the spaces within which they are observed, from the Dunhuang caves to the double screens to Zhu Jinshi’s Fangzhen: A Cubic Meter of Canvas in Berlin.  

Overall, his writings explore the many, restless transitions across time and space.  Perpetually interested in the shape of time, in relation to the time of the world, he has authored many books, essays, and exhibition catalogues that bring Chinese visual culture into different orders of focus, taking into account the changing conditions of tombs, screens, performances, and protests.  The scope of his work has an epic quality, allowing arguments to unfold across centuries without losing sight of the very human presence of artists and audiences.  He works in the discipline of art history as a poet-scholar who knows the brushstroke from the inside out, crafting prose of great clarity and nuance that opens the field to specialists and new readers alike. 


Distinguished Feminist Award – Artist 

In lieu of the Distinguished Feminist awards, we will recognize leaders in the field of feminist art and art history in our 2022 programming highlighting the 50th Year Anniversary of feminism at CAA. 

Robin Cass, Rochester Institute of Technology (Chair) 
Delinda J. Collier, School of the Art Institute of Chicago 
Midori Yoshimoto, New Jersey City University 


Distinguished Feminist Award – Scholar 

In lieu of the Distinguished Feminist awards, we will recognize leaders in the field of feminist art and art history in our 2022 programming highlighting the 50th Year Anniversary of feminism at CAA. 

Robin Cass, Rochester Institute of Technology (Chair) 
Delinda J. Collier, School of the Art Institute of Chicago 
Midori Yoshimoto, New Jersey City University 


Distinguished Teaching of Art Award  

Fred Hagstrom 

Fred Hagstrom, a member of the Carleton College faculty since 1984, is the 2022 recipient of the CAA Distinguished Teaching of Art Award. Hagstrom’s nomination included endorsements from former students and colleagues, including a listing of 341 former students who have taken his printmaking, book arts, and drawing classes. Hagstrom also directed a bi-annual study abroad 10-week trip for students to Australia, New Zealand, and the Cook Islands twelve times over twenty years, where students learned about South Pacific and Maori art and culture. Based on this experience, Dylan Yvonne Welch (BA, ‘08) recalls “Each trip, he candidly and humbly facilitates conversations about colonial history, racism and art. As a student, this was a breath of fresh air as I had found that many other professors seemed uncomfortable or simply avoided discussing those topics.” Eleanor Jensen (BA, ’01) credit him with teaching her to both see and draw, while also observing that “Fred is deeply sensitive to his students and is always ready to stand up for somebody who has been harmed or overlooked.” Students observed that Hagstrom’s classes were interdisciplinary, challenging them to connect their studies in other disciplines as well as their life stories to their studio work. Jade Hoyer credits Professor Hagstrom with being a mentor long after she graduated in 2007. Fred Hagstrom has profoundly impacted his students, many of whom have pursued careers as artists and educators.  We are pleased to recognize Fred Hagstrom’s more than three decades of teaching with this award.  

Stephen Fakiyesi, Independent Artist, Toronto 
Jessica Hong, Hood Museum, Toledo Art Museum 
Beauvais Lyons, University of Tennessee, Knoxville, (Chair) 


Distinguished Teaching of Art History Award 

Terry Smith 

Terry Smith has long written, curated and taught across borders, in the beginning coming from Australia to study and work in New York as both a scholar and an active member of Art & Language. He has been expanding his sights ever since. He has long advocated for the study of indigenous art. For the past twenty years, starting with projects such as Global Conceptualism: Points of Origin, 1950s -1980s at the Queens Museum, he was the trusted collaborator of Okwui Enwezor. He has always insisted that the past and the present be given their due consideration and global perspectives. 

All of this came to his teaching. Students have understood the breadth of his expertise and curiosity; they have used them as inspiration for their own paths; they have appreciated his warmth, his encouragement and the gift of his time. The example he has set as an art historian and a curator has had visible effects in the ranks of university professors and museum curators in the United States and abroad. They do not conform to a single, theoretical way. His students repeatedly speak of his belief in the independent existence of the art object and at the same time his insistence that it be grounded and imbricated in its own real time social relations. Art is allowed its scale, its interior place in our minds, and its exterior place in our world. 

Shirin Fozi, University of Pittsburgh (Chair) 
Joseph Masheck, Hofstra University 
Molly Nesbit, Vassar College 


Excellence in Diversity Award 

Valerie Cassel Oliver, curator of modern and contemporary art at the Virginia Museum of Fine Arts

Carmelita Higgenbotham, Virginia Commonwealth University 
Kelly Murdoch-Kitt, University of Michigan 
Sohl Lee, Stony Brook University



Filed under: Annual Conference, Awards

In Memoriam: Jonathan Brown

posted by January 19, 2022

Image source: Institute of Fine Arts, New York University

CAA mourns the loss of Jonathan Brown, an art historian and curator who has had an immense impact on the study of art in the Hispanic world. With over fifty-one years of teaching, eight at Princeton and forty-three at the Institute of Fine Arts (IFA), Brown’s influence was far-reaching. As he put it, “Without modesty, I believe I have made a mark in my field—Hispanic art—and in the wider world of art history.”

As a student at the beginning of his career, Brown studied Spanish literature at Dartmouth College and studied abroad in Madrid, where he discovered and cultivated his lifelong interest in Velázquez and Spanish Baroque art. After finishing his doctorate at Princeton in 1964, he joined the Princeton Department of Art and Archeology from 1965–73 and then ultimately decided to pursue scholarship and teaching, publishing his first book in 1973 based on his dissertation, Images and Ideas in Seventeenth-Century Spanish Painting. He said that he was told “that it fell like a bombshell in the ranks of Spanish art historians. Implicitly, the book created a bridge between the iconographical approach of Panofsky and a contextual reading . . . ” This was just the start of a long career that included exhibitions at major museums, scholarly publications, awards, and other accomplishments. In his tenure, his work shaped the study of Spanish Baroque art and defined the practice of Velázquez, producing texts and surveys that have become standard references for the field. In the last decades of his life, as the Carroll and Milton Petrie Professor Emeritus of Fine Arts at the IFA, he expanded his practice to include Hispanic and colonial art in the Americas.

In 2011, Brown served as the Distinguished Scholar for CAA’s Annual Conference. This honor invites preeminent scholars in the field to participate in a session at the conference along colleagues and former students. The session can therefore be viewed as the equivalent of a living Festschrift: an occasion for applauding, examining, and extending a distinguished career in art history and an opportunity for encouraging dialogue between and among several generations of scholars. In recognizing the significance of this moment, he said that he had “received many awards for my contributions to the field, of which the most important is the Distinguished Scholar by the College Art Association . . .”

Read more about the remarkable career of Jonathan Brown here.

Filed under: Obituaries

Button design celebrating 50% representation of women at the 2020 Conference, designed by the Committee on Women in the Arts (CWA).

Help CAA celebrate its 50th anniversary of feminism at the organization! CAA wants to better understand and document the history of its Committee of Women in the Arts, including the committee’s many collaborations with other affiliate committees and groups, such as the Women’s Caucus for Art, The Feminist Art Project, the Queer Caucus, and many more. To this end, CAA is issuing a call to expand its CWA archives through a crowd sourcing campaign.

If you ever served on the CWA or collaborated with its members, please consider contributing images of photographs or ephemera, memories that are pertinent to its history, or any digital files or recordings. Any contributions will become eligible to become part of CAA institutional archive and will be featured in a series of CAA social media posts reflecting on our history and shared throughout 2022. It is imperative that CAA digitizes these important resources to ensure that the history of women’s contributions to the arts and arts education are not forgotten

To submit:

  • Send materials and questions to, with “CAA Feminism” in the subject line
  • Provide:
    • Name and email
    • Social media handles or accounts (if you would like us to tag you in the post)
    • Date of material / date of acquisition
    • Description of material/ contents
    • Preferred credit line (I.e.: image/material provided to CAA courtesy of XXX / anonymous)
    • Permissions: Copy and paste this sentence into your email if you would allow us to feature the image on social media: “I give permission to share this material on social media.”
    • Donations: If you would like to donate the original materials to CAA, please copy and paste this sentence into your email: “I would like to donate these materials to CAA.”
    • Attachment of the material, following these specs:
      • Image/document:  please send jpegs that are at least 1200 px on the longest side, 72 ppi
      • Audio: MP3 format
      • Video: MP4 or mov


Filed under: Advocacy, Committees

Fifty Years of Feminism at CAA

posted by January 14, 2022

Recipients of the Committee on Women Awards, 2000 (left to right: Joanna Frueh, Flavia Rando, Mary D. Garrard, Norma Broude, Linda Nochlin, Carolee Schneemann, Samella Lewis, Ferris Olin). Photograph by Maria Politarhos.


Please join us in celebrating fifty years of feminism at CAA. We will share resources and perspectives on these histories throughout the year.

Fifty years ago in 1972, CAA founded its first committees devoted to women in the arts. A meeting of more than 250 women at the 60th Annual Conference titled “Meeting for Women Members of the College Art Association,” marked the starting point for the association’s focus on supporting and promoting the advancement of feminism in art. CAA’s board formalized its advocacy for women the same month by establishing the Committee on the Status of Women (COSW), the first committee to focus on women in CAA’s history.  Linda Nochlin, who was on the CAA Board at the time, became its first chair followed by Ann Sutherland Harris in 1973.

The Women’s Caucus for Art (WCA) was also formed at CAA in 1972 in response to the Annual Conference, but in 1974, the WCA broke off from CAA to become its own independent nonprofit organization and rapidly increased its membership. Today, the WCA is a close affiliate of CAA, whose history is often intertwined with our own. The COSW was renamed the Committee on Women in the Arts (CWA) in 1996, and it continues to promote the recognition of women’s valuable contribution to the visual arts and to critical art-historical study; advocate for feminist scholarship and activism in art; develop partnerships with organizations with compatible missions; monitor the status of women in the visual-arts professions; provide historical and current resources on feminist issues; and support emerging artists and scholars in their careers. Notable individuals involved with this effort over the years have included award recipients, such as art historians Linda Nochlin, Norma Broude, and Mary Garrard, as well as artists Carolee Schneemann, Faith Ringgold, and Carrie Mae Weems.

The CWA’s session, “50th Anniversary of Committee on Women in the Arts: Looking Back, Moving Forward,” at CAA’s upcoming virtual Annual Conference will dive into this history. Taking place on February 18, 2022 from 11:00 a.m. – 12:30 p.m. CST, is chaired by Joanna P. Gardner-Huggett and includes a panel discussion with Judith K. Brodsky, Ferris Olin, Midori Yoshimoto, Carron P. Little, Kalliopi Minioudaki, and Zoë Charlton.

Women-centered content is also one of the main three content threads at the 110th Annual Conference. Check out these sessions here and register today to attend!

Filed under: Advocacy, Committees — Tags:

Meme Omogbai, CAA’s Executive Director and CEO, and Laura Anderson Barbata, Vice President for Annual Conference and Programs discuss the pivot to a virtual conference.


Dear CAA members,

First and foremost, we want to wish you a happy New Year and hope that you found a way to celebrate with loved ones during this challenging period of the pandemic. It’s essential that we continue to honor traditions, express gratitude, and maintain connections that are important to us.

As we continue to prepare for our Annual Conference beginning in February, the health and safety of our members is our primary concern. We prioritize member feedback and continue to be responsive to your needs and preferences in a way that is scalable. This past year, many of you expressed the desire for an in-person gathering in 2022, complemented by virtual components increasing accessibility. We have worked diligently to provide an experience that meets your expectations.

Focusing on meeting our commitment to members, based upon quantitative and qualitative analysis, surveys, and other feedback consistent with the fundamentals of our strategic repositioning, we have been closely monitoring the COVID pandemic and the rapidly developing Omicron strain as well as CDC guidelines. Given this information and the recent feedback we’ve received from you regarding concerns about convening in person, the travel advisory issued by the Chicago Department of Public Health (CDPH) this week, and the uncertainty of the weeks and months ahead, we have decided to make the CAA 2022 Annual Conference entirely virtual. All in-person sessions and activities scheduled for February 16–19 in Chicago will now become virtual on the same dates. Virtual sessions and activities scheduled for March 3–5 will remain the same. All recordings will also remain available through April 14 as previously planned and communicated.

Our history, as described in CAA’s centennial publication, The Eye, the Hand, the Mind, has shown that we can change and adapt. The pandemic has once again shown us how nimble we can be as we pivot for the future. CAA staff will work in the coming days to seamlessly shift programming to an all-virtual format.

If you have already registered for the conference at any paid level—all-access, presenter, or virtual-only—your registration will automatically be converted to all-access for all sessions at the current virtual rate.  Current all-access registrants may also choose to be credited or refunded for the difference between the prior all-access and current virtual rates. Alternatively, we would greatly appreciate your considering donating this amount to CAA to help offset the costs related to this change. Those currently registered for all-access will receive an email in the coming days with a form to select their credit, donation, or refund preference.

We continue to be committed to fulfilling your expectations and to providing a conference that suits your means of engagement, provides a wealth of scholarly content, and allows multiple ways to connect with others. In contrast with last year’s conference, all presentations during the 2022 conference will be presented live via Zoom, rather than prerecorded. This will allow for more questions and spontaneous discussions.

During the all-virtual conference, we will have three opportunities to share with you our vision for CAA as we continue to reposition the organization for the twenty-first century. The Town Halls will give us an opportunity to hear from you so we can continue to meet your needs and accommodate your preferences.

  • Convocation, on Wednesday, February 16, officially begins the 2022 conference. It will be a chance to hear from CAA leadership about where we are in the repositioning process and our vision for the future. We will also recognize the Distinguished Award recipients and hear from keynote speaker, Juan Salgado, Chancellor, City Colleges of Chicago, on improving education and economic opportunities for individuals in underserved communities.
  • The Town Hall, on Friday, February 18, will provide an opportunity to hear the financial report of the association, the results of board elections, and other important business matters, including plans for the publications redesign and our restructured membership.
  • The Town Hall on Saturday, March 5, will be another time to share information and address any outstanding items.

Please watch the short video discussion between Meme and Laura Anderson Barbata, Vice President for Annual Conference and Programs, which provides more information on the pivot to an all-virtual format.

Our website, registration portal, and FAQs will reflect the shift to an all-virtual format, and we will continue to update you through our newsletter and social media accounts. Thank you for your patience and flexibility during this time. You may contact us with any questions or concerns at

We look forward to when we can once again meet safely face-to-face. Until then, we will continue to make positive use of virtual platforms and integrate them in ways that will benefit CAA members in the years to come, allowing us to broaden our reach across geographic and technological borders, and to emerge as a stronger organization.

Sincerely yours,

Meme Omogbai
Executive Director and CEO


N. Elizabeth Schlatter
President, CAA
Deputy Director, University of
Richmond Museums, Virginia

Filed under: Annual Conference

CWA Picks: December

posted by January 05, 2022

A photograph of an artwork

Not My Burden, 2019. Titus Kaphar (American, b. 1976). Oil on canvas; 167.6 x 153 cm. © Titus Kaphar. Image courtesy of the artist and Gagosian. Collection of Ellen Susman, Houston, Texas. Photo: Rob McKeever

The December “Picks” of exhibitions and opportunities from CAA’s Committee on Women in the Arts focus on the notion of lineage both as a subject matter and as a framework in which the featured artists are in dialogue. The following artists look back as they look forward, exploring the ways in which memory and history are intertwined with our present.   


September 30, 2021 – January 9, 2022 
The Wadsworth Atheneum Museum of Art 

By Her Hand presents a diverse group of female artists working in Italy during the 17th century from the celebrated Artemisia Gentileschi to her lesser-known contemporaries. While female artists played an important role in the male-dominated art world of their time, their success and contributions have historically been overlooked.  


Frida Kahlo: POSE 
June 25, 2021 – January 2, 2022 
Rose Art Museum 

Frida Kahlo: POSE includes contemporary art from the Rose permanent collection alongside pieces by Kahlo marking her significant influence and legacy. The exhibit is organized into five sections: posing, composing, exposing, queering, and self-fashioning. Each segment presents the revolutionary work of an artist who explored identity on an incredibly intimate and vulnerable level.  


Picturing Motherhood Now 
October 16, 2021 – March 13, 2022 
The Cleveland Museum of Art 

Picturing Motherhood Now represents a varied and intergenerational story of motherhood. Many of the exhibiting artists connect the experience of motherhood with other social issues including class, the history and impact of slavery, gender, migration, and indigenous cultures. While much of the work was created in the past two decades, the exhibit also highlights artists from the mid-twentieth century. 


Georgia O’Keeffe, Photographer 
Through January 17, 2022 
Museum of Fine Arts, Houston 

Georgia O’Keeffe, Photographer, now on view at the Museum of Fine Arts, Houston shares the previously unexplored photographic work of this iconic artist. About one-hundred photographs are included, alongside many of her paintings and drawings, and providing a rich survey of her artistic practice.  


Josephine Halvorson 
October 1, 2021 – March 28, 2022 
Exhibition featuring the Georgia O’Keeffe Museum’s first Artist-in-Residence 

Josephine Halvorson, a painter from Massachusetts, was the first Georgia O’Keeffe Museum’s Artist-in-Residence in 2019. Halvorson is currently exhibiting work she created in response to the landscape surrounding O’Keeffe’s homes as well as the personal collections that filled those homes at Ghost Ranch and in Abiquiú, New Mexico, and at the Museum in Santa Fe. This exhibition will be on view in Gallery 3 from October 1, 2021 to March 28, 2022. 


Barbara Deming Memorial Fund  
The application period is January 1 – 31, 2022 for Visual Art, Fiction, and Mixed Genre. 

Money for Women is the oldest ongoing feminist granting program and disperses funds to feminist writers and visual artists on a yearly basis. In this grant cycle, the foundation is seeking applications from visual artists, fiction writers, and mixed genre creators.  




Filed under: CWA Picks

Finalists for the 2022 Morey and Barr Awards

posted by January 03, 2022

CAA is pleased to announce the 2022 finalists for the Charles Rufus Morey Book Award and the two Alfred H. Barr Jr. Awards. The winners of the three prizes, along with the recipients of other Awards for Distinction, will be announced in January 2022 and presented during Convocation in conjunction with CAA’s 110th Annual Conference, February 16–19, 2022. 


Charles Rufus Morey Book Award Shortlist, 2022 

Monica Bravo, Greater American Camera: Making Modernism in Mexico, Yale University Press, 2021 

Elina Gertsman, The Absent Image: Lacunae in Medieval Books, Penn State University Press, 2021

Dipti Khera, The Place of Many Moods: Udaipur’s Painted Lands and India’s Eighteenth Century, Princeton University Press, 2020

Susanna P. Newbury, The Speculative City: Art, Real Estate, and the Making of Global Los Angeles, University of Minnesota Press, 2021


Alfred H. Barr Jr. Award Shortlist, 2022 

Carmen Ramos, ¡Printing the Revolution!: The Rise and Impact of Chicano Graphics, 1965 to Now, Princeton University Press, 2020

Sarah Fee, Cloth that Changed the World: The Art and Fashion of Indian Chintz, Yale University Press, 2020

Dorothy Moss, Hung Liu: Portraits of Promised Lands, Smithsonian National Portrait Gallery, 2021

Sarah Roberts and Katy Siegel, Joan Mitchell, Yale University Press, 2021

Andrea Nelson with Elizabeth Cronin, Mia Fineman, Mila Ganeva, Kristen Gresh, Elizabeth Otto, Kim Sichel, The New Woman Behind the Camera, DelMonico Books, 2020

Julia Griffin and Andrzej Szczerski, editors, Young Poland: The Polish Arts and Crafts Movement, 1890–1918, Lund Humphries, 2020


Alfred H. Barr Jr. Award for Smaller Museums, Libraries, Collections, and Exhibitions Shortlist, 2022 

Nadezhda Kavrus-Hoffmann with the collaboration of Pablo Alvarez, A Catalogue of Greek Manuscripts at the University of Michigan, Ann Arbor, University of Michigan Press, 2021

Julie L. McGee, David Driskell: Icons of Nature and History, Rizzoli, 2021

Sarah M. Miller, Documentary in Dispute. The Original Manuscript of Changing New York by Berenice Abbott and Elizabeth McCausland, Ryerson Image Centre/MIT Press, 2020

Elizabeth Finch; Marshall N. Price; Graham Bader; Scott Manning Stevens; Ruth Fine,  Roy Lichtenstein: History in the Making, 1948-1960, Rizzoli, 2020

David S. Areford, Strict Beauty: Sol LeWitt Prints, Yale University Press, 2020

Tameka Ellington & Joseph Underwood, TEXTURES: The History and Art of Black Hair, Hirmer Publishers / University of Chicago Press, 2022

Filed under: Awards

We’re pleased to announce this year’s participants in the CAA-Getty International Program. Now in its eleventh year, this international program supported by the Getty Foundation will all twelve new participants and four alumni to participation in the 2022 Annual Conference. Learn more about the first ten years of the program in our online publication.

Program participants—art historians, curators, and artists—hail from countries throughout the world, expanding CAA’s growing international membership and contributing to an increasingly diverse community of scholars and ideas. This year we welcome participants from two countries not previously represented—Costa Rica and Kuwait—as well as Puerto Rico. Selected by a jury of CAA members from a highly competitive group of applicants, the participants will receive funding for travel expenses, hotel accommodations, conference registration, CAA membership, and per diems for out-of-pocket expenditures.

At a pre-conference colloquium, the new participants will discuss key issues in the international study of art history together with CAA-Getty alumni and US hosts. The program will delve into topics as postcolonial and Eurocentric legacies, interdisciplinary and transnational methodologies, and the intersection of politics and art history. 

Alumni invited back to the 2022 conference will present in the session Can Art History Be Affective? Empathy, Emotion and the Art Historianchaired by Getty alumni and International Committee members Nora Veszpremi and Cristian Nae, while also providing an intellectual and social link between new participants and our burgeoning group of CAA-Getty International Program alumni.  

The goal of the CAA-Getty International Program is to increase international participation in CAA’s activities and the field of visual arts in academia, thereby expanding international networks and the exchange of ideas both during and after the conference. We look forward to welcoming the following participants. 



Tatiana Muñoz Brenes is an art curator and researcher. She has combined the exercise of cultural management with Social Sciences by having degrees in Art History and Psychology, both from the University of Costa Rica. Her training has allowed her to work on the topics of community museums, sustainability, collection research, curating exhibitions and curatorial accompaniment for artistic production. Currently, her work focuses mainly on queer art and the LGBTIQ+ community in Latin America. In addition, she has extensive experience in international projects, lectures, publications and museum training in Scotland, Portugal, Spain, China, Japan, Ecuador, and other countries. Projects can be found at 


Simona Cupic is Professor at the Department of Art History, University of Belgrade, Serbia. Her fields of research and teaching include art and culture between the World Wars, and the 1950s and 1960s. She is particularly interested in the visual and popular culture between 1920s and 1960s. She is the author of Mona Lisa & Superman. John F. Kennedy and the New Frontier of the Culture (2016), Elain de Kooning. Portraits(with Brandon Brame Fortune, Ann Eden Gibson, 2015), The JFK Culture (edited volume, 2013), and Bourgeois Modernism and Popular Culture. Episodes of the Fashionable, Faddish and Modern (1918-1941) (2011), among others. 


Anica Draganić is an architectural historian, conservator and multimedia artist who currently serves as an Associate Professor at the University of Novi Sad, Serbia. She received her PhD in Architectural History and Heritage Preservation from the University of Belgrade with a dissertation on Austro-Hungarian historical breweries. Her work focuses on nineteenth- and twentieth-century European architecture, with particular emphasis on industrial heritage and identity issues in the intercultural context of Central Europe. Her extensive research on the architectural heritage of the Vojvodina region has been published in journals, conference proceedings, and books, but also presented in numerous exhibitions. Her most recent book, Shadows and Silhouettes of Industrial Past of Vojvodina,shows the complexities of the socio-political context in which the industrial architecture of a specific multicultural region emerged, developed and disappeared. She is currently particularly interested in European architecture from the socialist period, exploring its historical values and contemporary potential. 



Heba Khairy Metwaly is an Exhibition coordinator at the Grand Egyptian Museum. She Oversees and provide rigorous, accurate and efficient exhibition coordination and follow up all aspects of exhibition development between all partners in the GEM. She is a PhD researcher specialized in the Collection Management and Documentation Practices in different museums. Heba has participated in many international and national field projects and studies focusing on the tangible and intangible material culture preservation and local community engagement and development. Heba has participated in the development of the daily life gallery “P34” at the Egyptian Museum of Cairo, the European Union Funding Project of Transforming the Egyptian Museum. In 2017 she participated in the British Museum International Training Program, where she curated the Object in Focus temporary exhibition. She Also participated in many international conferences focusing on the preservation of museum collection and exhibition design.  


Roma Madan Soni is an art historian with a PhD from the University of Wolverhampton, an Assistant professor at Box Hill College Kuwait, an ecofeminist-artist, and a researcher. Her art, teaching, and research are interdisciplinary, positioned at the node of ecofeminism: practice, theory and history, and contemporary visual politics. Her articles are published in Journal of Visual Art Practice, Feminist Media Studies, Ecofeminism and Climate Change, Crafts Research, Art & The Public Sphere, Necsus, International Feminist Journal of Politics, Journal of Gender Studies, Swasti, and a chapter in Cambridge Scholars. She collaborated for conference presentations and conducted workshops at CAA, SVIMS-Pune, JNU, LSR, Raza Foundation, University of Wolverhampton, Kuwait-Nuqat, KISR, TEDx Global Day- Gulf University of Science and Technology, Dar Al Athar-Yarmouk, Kuwait University, American University of Kuwait, Box Hill College Kuwait, American Open University, UN Habitat and Beit Sadu. She has exhibited at Kunsthaus-Steffisburg, TAPRI-Finland, DarAlAthar AlIslamiyah, The Scientific Centre Kuwait, MOMA-Kuwait, Masaha13, Artsy, Mayinart, Artling, Saatchi galleries, and painted the book-cover for Routledge Handbook of Feminist Peace Research (2021). Research grants, commissions and awards from The Scientific Centre Kuwait, Kuwait Foundation of Advanced Sciences, Kuwait Institute of Scientific Research, UN Habitat, and Arab Open University aided her research and creations. She is a member of the Museum Committee and a Reader for the Council of Readers at CAA. I chair the “Transformative Education Think Tank”-Collective Impact Coalition-Konrad Adenauer Stiftung to address Kuwait’s academic challenges. Her work has been accepted at the Venice Art Fair and Florence Biennale 2021.  


Patricia D. Meneses is an assistant professor of Art History at the University of Campinas (Brazil).  She earned her PhD in History of the Visual Arts at the University of Pisa (2009). She is the author of Baccio Pontelli a Roma. L’attività dell’architetto per Giuliano Della Rovere (Felici Editore 2010) and editor of several books, such as Arte Não-Europeia. Conexões historiográficas a partir do Brasil (Esta ção Liberdade 2020), and A imagen como experimento. Debates contemporaneous sobre o olhar (Milfontes 2021). Recently, she was Hans Jonas visiting professor at the University of Siegen (2019), where she taught a course on “exotic” materials in Art History. She is currently part of a Connecting Art Histories project sponsored by the Getty Foundation (“Teaching Non-European at Brazilian Universities”). Her research focuses on the connections between art, science and ecology in the nineteenth-century. She is presently developing a book project about hummingbird’s ecology in Brazilian visual culture. 


Akinwale Onipede is an art historian, researcher and teacher at the University of Lagos, Nigeria. He trained at the University of Benin, and, the University of Lagos, where he works in the area of the interface of global and local cultures and identities as expressed in visual arts. His main interest is in how developments globally in the philosophies, techniques, products and opportunities in visual arts, have affected its contemporary practice and direction in Nigeria. The universalization of cultures, consequent upon globalization, he argues, is skewed in favor of the West, whose culture is endorsed, whose pocket is deepest and whose machinery is most efficient, in the promotion of the direction of visual arts studies, practice, articulation and documentation. He is of the position that the continent that produced the great pyramids, the Nok, Igbo Ukwu, Ife and Benin masterpieces should play crucial roles in contemporary promotion of the arts. 



Melissa M. Ramos Borgesis an art historian with a predilection for the (re)vision of the discipline. She obtained her doctorate from the Programa de Estudios Artísticos, Literarios y Culturales with a specialty in Art History at the Universidad Autónoma of Madrid, where she presented the first comprehensive study of avant-garde art produced between 1960-1980 in Puerto Rico. She is a professor of Art History and Theory at the University of Puerto Rico, Mayagüez and Río Piedras Campus. In addition, she is an independent researcher and curator who has published and presented her exhibitions and articles in various international platforms. She curated SUZI FERRER, the first retrospective exhibition of the groundbreaking feminist avant-garde artist, presently on view at the Museo de Arte y Diseño de Miramar.  She is currently working on publishing a catalogue with contributions from various scholars which will accompany an upcoming traveling SUZI FERRER exhibition.  



Shenouda Rizkalla is a trained archaeologist with extensive experience in archaeological fieldwork, database and collections management, and community outreach. His current research focus is the museum’s role in preserving the local community identity, applied to the content and display of the Sharm El-Sheikh museum and build up a sustainable community outreach program by engaging the local population with the collection and relate the results to wider discussions of repatriation and post-colonial heritage management in Egypt. Rizkalla is an Egyptology PhD graduate from Helwan University-Egypt. His research to date has been diverse, working on recording and translating Ptolemaic Period hieroglyphics, creating and executing site management strategies, and addressing the looting of archaeological sites. He is a member of many excavations and site management missions inside Egypt since 2012. He has many Presentations and Invited Talks, Academic Reports and Publications.   


Nsima Stanislaus Udo is a Nigerian and an Africanist scholar.  He completed his BA in History and International Relations in Ile-Ife, Nigeria. He then proceeded to South Africa where he completed his Honors and MA degrees (cum laude) at the University the Western Cape in Visual History and Theory. He lives in Cape Town and is a doctoral candidate at the University of the Western Cape. His research interest is in African cultural studies: in thinking around visual representations, histories and meanings of African cultural and festival practices. His doctoral research is currently looking at the history of Calabar Festival and Carnival, Nigeria. He is exploring the multiple-layered cultural, visual, aesthetic, economic and secular representations of this complex and elaborate festival. Nsima Stanislaus Udo presently serves as a teaching and research assistant at the Faculty of Art in the same university.  


John Kelechi Ugwuanyi is a senior lecturer and the coordinator of postgraduate studies in the Department of Archaeology and Tourism, University of Nigeria, Nsukka. He had his PhD in heritage studies at the University of York and MA and BA in Archaeology and Tourism at the University of Nigeria. His research interest is critical heritage studies, museum, indigenous knowledge systems, tourism, and contemporary archaeology. He is the co-editor of Journal of African Cultural Heritage Studies and sits on the editorial board of the Studies in Contemporary and Historical Archaeology in Theory book series published by the Archaeopress in Oxford as part of the British Archaeological Report series of monograph. Kelechi has published in national and international journals of repute. He is a fellow of the American Council of Learned Societies and a recipient of other scholarship/grant including the Overseas Research Scholarship of the University of York, UK. 



Elizabeth Catoia Varela holds a PhD in History and Criticism of Art from the Federal University of Rio de Janeiro, Brazil (2016). She worked at the Research and Documentation Center of the Modern Art Museum of Rio de Janeiro – MAM Rio (2009-2021). Her dissertation was published as a book in 2017 (Concrete Art Beyond Europe: Brazil, Argentina and the MAM Rio). She published other three books about the history of the museum. Varela was the curator of the exhibition “MAM: its history, its heritage” (2013-2016). She was awarded in 2020 with the AAM-Getty International Program/American Alliance of Museums and is a member of the College Art Association (CAA) and the International Council of Museums (ICOM).  




Nadhra Shahbaz Khan is Associate Professor of Art History and the Director of the Gurmani Centre for Languages & Literature at LUMS, Lahore, Pakistan. A specialist in the history of art and architecture of the Punjab from the sixteenth to the early twentieth century, Dr. Khan’s research covers the visual and material culture of the region during the Mughal, Sikh, and colonial periods. Her interest lies in investigating levels of human agency behind artefacts and architectural spaces, both as creators and consumers to understand their political, religious and socio-economic ambitions at different historical intersections. Her publications, conference papers and other research activities spread over more than a decade, especially her book titled Maharaja Ranjit Singh’s Samādhi in Lahore: A Summation of Sikh Architectural and Decorative Practices has successfully brought Sikh art and architecture to the forefront of Pakistan’s heritage discussions and conservation activities.   



Halyna Kohut is an associate professor in the Faculty of Culture and Arts at the Ivan Franko National University of Lviv, Ukraine, where she teaches history of art, contemporary art, feminist art, and history of theatrical costume. Educated as an artist, she received her Ph.D. from the Lviv National Academy of Arts. Kohut is the CAA-Getty International Program alumna and a recipient of scholarships and grants from the Samuel H. Kress Foundation, Austrian Agency for International Mobility and Cooperation, the Canadian Institute of Ukrainian Studies at the University of Alberta, and the Queen Jadwiga Foundation at the Jagiellonian University in Cracow. Kohut specializes in eighteenth-century East European carpets and kilims. Her most recent research interest focus on woman art in Soviet Ukraine. She is especially interested in how ideology informed the identities of women artists and how they challenged that ideology with their art practices.  


Irena Kossowska graduated from the Warsaw University in 1980. She obtained a Ph.D. degree and Habilitation at the Institute of Art of the Polish Academy of Sciences, in 1990 and 2001 respectively. Currently she is Full Professor of Art History at the Nicolaus Copernicus University in Torun, and at the Polish Institute of World Art Studies in Warsaw. She specializes in the field of nineteenth- and twentieth-century visual arts, art theory, and criticism. She is the recipient of numerous awards and fellowships, including from the Bogliasco Foundation, Center for Advanced Study in the Visual Arts, Smithsonian Institution, Zentralinstitut für Kunstgeschichte, National Humanities Center, Institut national d’histoire de l’art, Henry Moore Institute, and the British Academy. She has written extensively on Polish and European art, including Artistic Reconquest: Art in Interwar Poland and Europe, The Search for Cultural Identity in Eastern and Central Europe 1919-2014Symbolism and Young Poland; Reinterpreting the Past: Traditionalist Artistic Trends in Central and Eastern Europe of the 1920s and 1930s; and The Beginnings of Polish Original Printmaking 1897-1917. 


Ana Mannarino is an art historian and a professor of art history in the School of Fine Arts and the Visual Arts Postgraduate Program at the Federal University of Rio de Janeiro, where she received her PhD in history of arts and visual arts. Her research focuses on Brazilian modern and contemporary art, particularly on the relationship between text and image, art and poetry, and the production of artists’ books. 

Brazil CIHA Conference Website: CIHA São Paulo 2021 – Motion Migrations – The CIHA conference aims to describe, to reflect upon and to analyze the different forms of migrations in a concrete, historiographical and theoretical way. (

The National Committee of the History of Art (NCHA) is pleased to announce that the 35th World Congress of the International Committee of the History of Art (CIHA) will take place January 17-21, 2022.  Originally planned as an in-person gathering in São Paulo, Brazil, the format has shifted to a hybrid model due to the pandemic and most of the speakers will participate virtually.  Registration for virtual attendance will be free of charge.

Organized around the theme of “Motion: Migrations,” the conference will virtually bring together an international roster of art historians for five days of scholarly exchange. Presentations will reflect on the different forms, theories and historiographies of migration in the history of art and in its contemporary conditions (see the conference page URL). The conference theme is especially relevant to our current period of lockdowns, restricted borders, and global supply chain disruptions.

The São Paulo conference is the second of two paired congresses on the question of “Motion” (the first half took place in Florence, Italy, in 2019). The session themes and the full program are available on the program tab of the CIHA conference website. 39 US-based art historians are scheduled to speak on the program, including 12 graduate students.

The NCHA supports the participation of US art historians at all stages of their career in this important global conversation and is committed to the success of the São Paulo CIHA.  To this end, the NCHA has awarded travel fellowships to students in US doctoral programs so that they can participate in the conference in person.   The Committee encourages US art historians to virtually attend the conference and to share information about it with any interested groups.  Finally, please consider organizing events that enable graduate students or other members of your academic community to watch CIHA sessions together.   Should you have questions, don’t hesitate to reach out to any of the NCHA members.

CIHA is the oldest continuously held art history conference in the world. Quadrennial CIHA Congresses promote innovative art historical research and foster dialogue among scholars from around the globe. NCHA is the US affiliate of CIHA and works to connect scholars in the United States with their counterparts in other countries, in part by encouraging participation in and attendance at CIHA congresses and colloquia. We hope to “see” many art historians at the upcoming conference.

Filed under: Event

Although CAA’s 110th Annual Conference has changed entirely to virtual, we still wanted to share a list of museum and gallery exhibitions that will be open this winter in Chicago.


Art Institute of Chicago
111 South Michigan Avenue, Chicago, IL 60603
Free admission for CAA Annual Conference attendees with badge
Hours of operation: Daily (except Thursday), 10:30 a.m.–5:00 p.m.
Thursday 10:00 a.m.–8:00 p.m.
On view: Senju’s Waterfall for Chicago, Subscribe: Artists and Alternative Magazines, 1970-1995

864 N. Ashland, Chicago IL 60622
Free and open to the public
Hours of operation: Wednesday, Thursday, Friday, and Saturday 11:00 a.m.–6:00 p.m.

Chicago Architecture Center
111 East Wacker Drive, Chicago, IL 60601
Discounted admission for CAA Annual Conference attendees with badge
Hours of operation: Daily, 9:00 a.m.–5:00 p.m. Exhibits open at 9:30 a.m.
On view: Housing for a Changing Nation; Chicago Gallery; Chicago City Model; From Me to We: Imagining the City of 2050

Chicago Cultural Center
78 E Washington St, Chicago, IL 60602-4801
Free and open to the public
Hours of operation: Monday–Friday, 10:00 a.m.–7:00 p.m.
Saturday and Sunday, 10:00 a.m.– 5:00 p.m.
On view: Art and Race Matters: The Career of Robert Colescott

Columbia College Chicago, Student Center
754 S Wabash Ave., Chicago, IL 60605
Free and open to the public
Hours of operation: Monday – Friday, 7:00 a.m. – 11:00 p.m., Saturday, 8:00 a.m. – 10:00 p.m.
On view: Soft Allergy (Closes February 18)

Columbia College Chicago, Glass Curtain Gallery
1104 S Wabash Ave, 1st Floor, Chicago, IL 60605
Free and open to the public
Hours of operation: Monday—Wednesday and Friday, 9:00 a.m.—5:00 p.m., Thursday, 9:00 a.m.—7:00 p.m.
On view: Soft Allergy (Closes February 18)

DePaul Art Museum
935 West Fullerton Avenue, Chicago, IL 60614
Free and open to the public
Hours of operation: Wednesday and Thursday, 11:00 a.m.–7:00 p.m.
Friday, Saturday, and Sunday, 11:00 a.m.–5:00 p.m.
Closed Monday and Tuesday
On view: A Natural Turn: María Berrío, Joiri Minaya, Rosana Paulino, and Kelly Sinnapah Mary, (Closes February 19), Solo(s): Krista Franklin, Closes February 19)

Field Museum
1400 South Lakeshore Drive, Chicago IL, 60605
Discounted admission for CAA Annual Conference attendees with badge
Hours of operation: Daily, 9:00 a.m.–5:00 p.m. (last admission at 4:00 p.m.)
On view: Permanent Exhibition Highlights: Evolving Planet and SUE the T. rexMaximo the TitanosaurInside Ancient EgyptAncient AmericasLions of TsavoHall of Gems. Ticketed Exhibitions: Pokagon Potawatomi Black Ash Baskets: Our Storytellers

Hyde Park Art Center
5020 S. Cornell Avenue, Chicago, IL 60615
Free and open to the public
Hours of operation: Monday – Thursday, 9:00 a.m.—8:00 p.m.
Friday and Saturday, 9:00 a.m.—5:00 p.m.
Sunday, 12:00 – 5:00 p.m.
Easily accessible by Number 6 bus from the South Loop
On view: Dream

Intuit: The Center for Intuitive and Outsider Art
756 North Milwaukee Avenue, Chicago, IL 60642
Free admission for CAA Annual Conference attendees with badge
Hours of operation: Tuesday, Wednesday, Friday, and Saturday, 11 a.m.–6 p.m.
Thursday, 11 a.m.–7 p.m.
Sunday, 12 p.m.–5 p.m.
Closed Monday
On view: The Life and Death of Charles Williams

Museum of Contemporary Photography
600 South Michigan Avenue, Chicago, IL 60605
Free and open to the public
Hours of operation: Daily (except Thursday and Sunday), 10:00 a.m.–5:00 p.m.
Thursday, 10:00 a.m.–8:00 p.m.
Sunday, 12:00 p.m.–5:00 p.m.
On view: American Epidemic: Guns in the United States

National Museum of Mexican Art
1852 West 19th Street, Chicago, IL 60608
Free admission for CAA Annual Conference attendees with badge
Hours of operation: Tuesday– Sunday, 10:00 a.m.–5:00 p.m.
Closed Monday
On view: Nuestras Historias: Stories of Mexican Identity from the Permanent Collection

Richard H. Driehaus Museum
40 East Erie Street, Chicago, IL 60611
Free admission for CAA Annual Conference attendees with badge
Hours of operation: Open daily 10:00 a.m.–5:00 p.m.
On view: William H. Bradley and The Chap-Book from the Collection of Richard H. Driehaus

Riverside Arts Center
32 E Quincy St, Riverside IL 60546
Free and open to the public
Hours of operation: Tuesday through Saturday, 1:00—5:00 p.m.
Easily accessible by Metro BNSF train or car
On view: Muse, an exhibition of photography and costumes by Niki Grangruth and James Kinser

Smart Museum of Art, University of Chicago
72 E. Randolph St., Chicago, IL 60601
Free and open to the public
Hours of operation: Daily (except Monday and Thursday), 10:00 a.m.–5:00 p.m.
Thursday, 10:00 a.m.–8:00 p.m.
Closed Monday
On view: All Together Now: Sound × Design

Sullivan Galleries
33 South State Street, Chicago, IL 60603, 7th Floor
Free and open to the public
Hours of operation: Tuesday–Saturday, 11:00 a.m.–6:00 p.m.
Closed Sunday and Monday

VGA Gallery
2418 West Bloomingdale Avenue, Unit 101, Chicago, IL 60647
Free and open to the public
Hours of operation: Thursday, 5:00 p.m.­–8:00 p.m.
Saturday, 12:00 p.m.–5:00 p.m.

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