CAA News Today
An Interview with Elizabeth Hill Boone, 2019 CAA Distinguished Scholar
posted by CAA — November 20, 2018
We are pleased to welcome Elizabeth Hill Boone, Professor of History of Art and Martha and Donald Robertson Chair in Latin American Art at Tulane University, as the 2019 CAA Distinguished Scholar.
An expert in the Precolumbian and early colonial art of Latin America with an emphasis on Mexico, Professor Boone is the former Director of Pre-Columbian Studies at Dumbarton Oaks and recipient of numerous honors and fellowships, including the Order of the Aztec Eagle, awarded by the Mexican government in 1990.
CAA media and content manager Joelle Te Paske corresponded with her recently to learn her thoughts on art history, scholarship, and challenges in the field. Read their interview below.
Photo: Paula Burch, Tulane University
Joelle Te Paske: Thanks for taking the time to speak with CAA. So, where are you from originally?
Elizabeth Hill Boone: Coming from a military family rooted in Virginia, I moved from coast to coast often as a child and then attended the College of William and Mary in Virginia for my BA.
JTP: What pathways led you to the work you do now?
EHB: It was at William and Mary, where I was a Fine Arts major. The sculpture professor Carl Roseberg offered a course, Ancient Art, that included a three-week section on the Pre-Columbian Americas. He showed us and presented the then-canonical explanation of the monumental “Coatlicue” sculpture from Aztec Mexico, and I was immensely intrigued. I wondered what kind of mind would conceptualize and carve a work like that as its creator or mother goddess. That question led me into Aztec studies, which took me to the University of Texas at Austin for my PhD, and to Aztec painted books, where similar images were to be found. I became a manuscript specialist because I needed to understand what the manuscript paintings meant, how they related to the Coatlicue, why they came to fill those particular pages. Since the field of Mexican manuscript painting was in its infancy, I left the Coatlicue behind to focus on the other manuscript genres and Mexican pictography as a system. My study of Mexican pictography naturally led me to the issue of how the concept of Writing should be broadened.
JTP: What are you working on currently?
EHB: I am now finishing up a book analyzing the corpus of pictorial manuscripts created in the early colonial period to document the ideologies and practices of Aztec culture. United by their decendency from Mexican pictography, these painted reflections of the Aztec past were re-purposed to inform Europeans principally about Aztec religion, as weapons of conversion and aids for colonial administrators.
JTP: What is your favorite part of the work you do?
EHB: I think most art historians love solving mysteries: discovering connections and uncovering histories and contexts. I want to understand what an object meant to its different audiences at the time of its creation, and also what it can tell us now about our own perspectives. Depending on the object, it can also be rewarding and telling to track its reception and reconceptualization through time.
Coatlicue Statue in National Museum of Anthropology, Mexico City. Photo: Antony Stanley
JTP: If you could boil your teaching philosophy down to a central idea, what would it be?
EHB: My goal is to excite students about the potentials of visual expression. This means giving them knowledge of the material such that they can understand its cultural context and power, but also showing the students how the objects speak today as works of art.
JTP: What’s exciting to you right now in the field?
EHB: Globalism. The discipline has broken the confines that once centered it in Western Europe and is now focusing on connections between peoples. Centers of discourse are now shifting toward the larger Atlantic world, the Pacific world, the Silk Road, and the trans-Mediterranean/African network, to name just a few. It is opening up new ways of understanding the meaning and agency of art.
JTP: What do you see as the greatest challenges in the field right now?
EHB: I see two challenges. The first and most important is relevance. Art history must articulate why it matters in these times. As graphic communication (communication that is not oral or gestural) becomes even more the principal form of communication between people, the discipline needs to assert its place as a source of theoretical knowledge and of models for investigative practice.
The second challenge is linked to the increasing study of trans-cultural connections. Scholars who seek to follow the movement of objects and ideas across spaces and between cultures need to develop strong local knowledge of all participants, so that these global connections are grounded in area expertise. In order to avoid facile comparisons and connections, researchers now have to master multiple areas.
JTP: Have you attended CAA conferences? Do you have a favorite memory?
EHB: I have attended many. Perhaps my favorite memories are of cross-cultural sessions that focus on issues relevant to many cultures, for example, civic identity, and in which the presenters push their material to address the large question in a serious way.
JTP: Thank you, Professor Boone. We’re looking forward to seeing you at the 2019 conference.
Elizabeth Hill Boone is Professor of History of Art and Martha and Donald Robertson Chair in Latin American Art at Tulane University. An expert in the Precolumbian and early colonial art of Latin America with an emphasis on Mexico, she is the former Director of Pre-Columbian Studies at Dumbarton Oaks. Professor Boone has earned numerous honors and fellowships, including the Order of the Aztec Eagle, awarded by the Mexican government in 1990. She is a Fellow of the American Academy of Arts and Sciences and a Corresponding Member of the Academia Mexicana de la Historia. Her research interests range from the history of collecting to systems of writing and notation, and are grounded geographically in Aztec Mexico, but extend temporally for at least a century after the Spanish invasion. She is the author of Cycles of Time and Meaning in the Mexican Books of Fate (Texas, 2007) and Stories in Red and Black: Pictorial Histories of the Aztecs and Mixtecs (Texas, 2000), which was awarded the Arvey Prize by the Association for Latin American Art.
Sissel Tolaas, Yelena McLane, and Meredith Lynn
posted by CAA — November 19, 2018
The weekly CAA Conversations Podcast continues the vibrant discussions initiated at our Annual Conference. Listen in each week as educators explore arts and pedagogy, tackling everything from the day-to-day grind to the big, universal questions of the field.
CAA podcasts are now on iTunes. Click here to subscribe.
This week, Sissel Tolaas, Yelena McLane, and Meredith Lynn discuss “Smells, Diversity, Tolerance.”
Sissel Tolaas is an artist and founder of the SMELL RE_searchLab in Berlin.
Yelena McLane is Assistant Professor of Interior Architecture & Design, Florida State University.
Meredith Lynn is Assistant Curator & Director of Galleries, Florida State University.
New in caa.reviews
posted by CAA — November 16, 2018
Annika Marie writes about Pollock’s Modernism by Michael Schreyach. Read the full review at caa.reviews.
Allison Moore reviews Albino by Ana Palacios. Read the full review at caa.reviews.
Jennifer Nelson discusses Perfection’s Therapy: An Essay on Albrecht Dürer’s Melencolia I by Mitchell B. Merback. Read the full review at caa.reviews.
Our Community Guidelines for CAA 2019
posted by CAA — November 15, 2018
Conference attendees at the 2018 Annual Conference in Los Angeles. Photo: Rafael Cardenas
As we near the 107th Annual Conference, we want to remind all of our attendees about their rights at the conference. Please review the Community Guidelines on the conference website before attending.
Plagiarism at the CAA Annual Conference is prohibited. As a scholarly organization devoted to the pursuit of independent scholarship, CAA does not condone theft or plagiarism of anyone’s scholarship, whether presented orally or in writing. Participants at the conference are not allowed to make audio or video recordings of any session at the Annual Conference, without the expressed permission of all presenters.
If you believe your work has been stolen or plagiarized by some other person, we encourage you to contact us so that an investigation might be conducted, and, if appropriate, we may contact the involved parties and publishers involved.
A Word to the Wise
posted by CAA — November 14, 2018
We want to remind everyone that CAA DOES NOT sell its lists of members, conference attendees or participants in our Book and Trade Fair. If you see someone offering those items for sale or rent, they are trying to scam you. This time of year, we see more of these scams and want you to know to stay away from them.
If you receive a solicitation, please forward it to us at NYOFFICE@collegeart.org and we will get in touch with the scofflaws.
News from the Art and Academic Worlds
posted by CAA — November 14, 2018
Want articles like these in your inbox? Sign up: collegeart.org/newsletter
Nick Cave in his studio at Facility, his new multidisciplinary art space in Chicago. Photo: Whitten Sabbatini for New York Times
Artist Covertly Hangs #MeToo-Inspired Wall Labels at the Met Museum
Michelle Hartney posted the guerrilla wall labels next to the artwork of Paul Gaugin and Pablo Picasso. (Hyperallergic)
How Ideas Go Viral in Academia
Can great thinking still catch fire in academia? (CU Boulder)
Nick Cave Uses His Capital to Help Aspiring Creators
Nick Cave and partner Bob Faust have created a new 20,000-square-foot multidisciplinary art space in Chicago. (New York Times)
Still a Problem: Images and Art History in 2018
“Too often we are still using poor quality, lifeless images that we project in the classroom with Powerpoint. We think we can do better.” (Smarthistory)
Countering Myths and Misperceptions of Participating in the Arts
The first in a three-post series examining people’s questions about arts experiences and how organizations can help answer them. (Wallace Blog)
CAA Announces Guidelines for Addressing Proposed Cuts to Arts and Humanities Programs and Departments
posted by CAA — November 12, 2018
Campuses across the country have been affected by cuts to the arts and humanities. See the full list here. Graphic: Allison Walters
By any number of metrics, the arts and humanities are experiencing challenging times. Funding is under threat from the Federal government. Student enrollment is dropping in higher education classes focusing on the arts and humanities. The number of tenure-track faculty positions are diminishing in arts and humanities departments. The wide support of STEM-centered education has placed an emphasis on career paths with measurable and immediate financial outcomes. Yet, we know the importance of an arts and humanities education, not just for those looking to have careers in the arts and humanities but those across the entire professional spectrum.
In response to the challenges in the arts and humanities, some universities and colleges in the United States have cut programs, collapsed libraries, or shuttered entire departments. These steps, taken as cost-saving measures, only increase the uphill battle for the arts and humanities. Over the past years, CAA has tracked these changes in higher education through the organization’s own research efforts and through narratives relayed directly from our members. These actions taken by administrations are in no way secret. In article after article, the alarm has been sounded. We believe there is a better way to resolve these issues and protect the arts and humanities at the same time.
To bridge this divide, CAA is pleased to release “Guidelines for Addressing Proposed Substantive Changes to an Art, Art History or Design Unit, or Program at Colleges and Universities.”
“These guidelines provide a path for open communication between faculty and administration,” says Hunter O’Hanian, executive director of CAA. “With this new tool to be used by both administrations and faculty equally, CAA builds a resource that is vital to strengthening the arts and humanities on campuses. The guidelines create clearly definable steps and parameters for a process that when handled badly leads to fissures between faculty, students, and administrations.”
The “Guidelines for Addressing Proposed Substantive Changes to an Art, Art History or Design Unit or Program at Colleges and Universities” call for a deeper understanding of the factors and issues that have precipitated the action to close a department or program. The guidelines outline two clear paths: they encourage constituencies to communicate about the potential changes, and they pave the way to resolution without having to eliminate or downsize the program or department.
If those conversations fail to reach a satisfactory outcome with the educational institution, the guidelines emphasize that the institutional administration must do everything it can to see that the program continues. And, as is the case with all scholastic endeavors, the administrations must show their work—they must provide documentation that the department has been adequately resourced and funded. It must demonstrate that growth has been encouraged rather than to allowing it to lay fallow.
“CAA remains convinced that students and society derive lasting benefit when institutions offer a diverse range of academic resources to support different learning styles,” says Jim Hopfensperger, president of the CAA Board of Directors. “These new CAA guidelines outline best practices toward sustaining this essential diversity of academic programs and operational assets.”
Hopfensperger adds that “CAA believes that students, staff, faculty, and institutional leadership teams are all well served by inclusive processes, open lines of communication, engagement across constituencies, and empathetic deliberations.”
IMPACT OF ARTS AND HUMANITIES TOOLKIT
COLLEGES FACING CUTS TO ARTS AND HUMANITIES PROGRAMS
Authors and Contributors for the “Guidelines for Addressing Proposed Substantive Changes to an Art, Art History or Design Unit or Program at Colleges and Universities”:
CAA Working Group for Guidelines for Addressing Proposed Substantive Changes to an Art, Art History or Design Unit or Program at Colleges and Universities: Tom Berding, Michigan State University; Brian Bishop, Framingham State University (Chair, CAA Professional Practices Committee); James Hopfensperger, Western Michigan University (CAA Board President); Charles Kanwischer, Bowling Green State University; Karen Leader, Florida Atlantic University; Richard Lubben, College of the Sequoias; Paul Jaskot, Duke University; Hunter O’Hanian, CAA Executive Director.
Elaine Bezold and Sidney Stretz
posted by CAA — November 12, 2018
The weekly CAA Conversations Podcast continues the vibrant discussions initiated at our Annual Conference. Listen in each week as educators explore arts and pedagogy, tackling everything from the day-to-day grind to the big, universal questions of the field.
CAA podcasts are now on iTunes. Click here to subscribe.
This week, Elaine Bezold and Sidney Stretz discuss failure in the classroom.
Elaine Bezold (Stephen F. Austin State University) is a photographer and educator living in Dover, New Hampshire. She makes work about human-animal interactions, rebirth, loss, and instinct.
Sidney Stretz (University of North Carolina Greensboro) is an artist and educator living and working in Greensboro, North Carolina. She makes work about everyday life and its challenges, strange social situations, and failure.
New in caa.reviews
posted by CAA — November 09, 2018
Petrona Morrison writes about John Dunkley: Neither Day nor Night by Diana Nawi, John Dunkley, David Boxer, Olive Senior, and Nicole Smythe-Johnson. Read the full review at caa.reviews.
Daria Kostina discusses the 4th Ural Industrial Biennial of Contemporary Art. Read the full review at caa.reviews.
John H. P. Semlitsch reviews Eccentric Modernisms: Making Differences in the History of American Art by Tirza True Latimer. Read the full review at caa.reviews.
Affiliated Society News for November 2018
posted by CAA — November 07, 2018
Affiliated Society News shares the new and exciting things CAA’s affiliated organizations are working on including activities, awards, publications, conferences, and exhibitions.
We’re seeking new organizations to join CAA’s Affiliated Societies. Click here to learn more.
Association for Latin American Art (ALAA)
Save the Date: The World Turned Upside Down
The Fifth Triennial Conference of the Association for Latin American Art (ALAA) will take place next year in Chicago, 7-9 March, 2019. Sponsored by DePaul University and the Art Institute of Chicago with support from the National Museum of Mexican Art and the Thoma Foundation, the conference will include a variety of papers around the theme of “Arts of Oppression and Resistance in the American Hemisphere,” as well as additional activities in and around area institutions. For more information, please visit https://associationlatinamericanart.org/triennial/.
The Feminist Art Project (TFAP)
Call for Contributions to Rejoinder, an online journal featuring work at the intersection of scholarship and activism that reflects feminist/queer and social justice perspectives.
me too
The “me too” movement, founded in 2006 by activist Tarana Burke to help young American women of color heal from sexual assault, has gone global. Survivors around the world are giving unprecedented voice to stories of violence and abuse. The next issue of Rejoinder will explore the history, present, and future of “me too” as it relates to contemporary feminist mobilization and theorizing. We welcome contributions that explore any aspects of “me too,” such as how the movement travels across different contexts (such as the home, the academy, the workplace), through different forms of media and face-to-face interactions. What are the most pronounced effects of “me too?” And what difference does adding the hashtag make? Submissions (including essays, commentary, criticism, fiction, poetry, and artwork) should address this theme from feminist, queer, social and racial justice-inspired perspectives. We particularly welcome contributions at the intersection of scholarship and activism. For manuscript preparation details, please see our website at: http://irw.rutgers.edu/about-rejoinder. Rejoinder is published by the Institute for Research on Women at Rutgers University in partnership with The Feminist Art Project. Please send completed written work (2,000-2,500 words max), jpegs of artwork, and short bios to the editor, Sarah Tobias (stobias@rutgers.edu) by December 19, 2018.
Midwest Art History Society (MAHS)
The 46th Annual Conference of the Midwest Art History Society will be held from March 21–23, 2019, in Cincinnati, Ohio. Join us for thought-provoking sessions at the renowned Cincinnati Art Museum (CAM) on Thursday and Friday, March 21 and 22, and at the Taft Museum of Art on Saturday, March 23. On Thursday evening, the keynote lecture will be delivered by S. Hollis Clayson, Bergen Evans Professor in the Humanities at Northwestern University, in association with CAM’s exhibition Paris 1900: City of Entertainment featuring works drawn from the collections of the City of Paris museums. After sessions conclude on Friday, the Contemporary Arts Center in downtown Cincinnati will host an evening reception. Special behind-the-scenes programs at our partner museums will make this conference a particularly memorable experience. For more information and the conference’s call for papers, please visit the organization’s website http://www.mahsonline.org.
Visual Resources Association (VRA)
The next VRA international conference for image media professionals will take place at the Doubletree Hotel in the Little Tokyo area of downtown Los Angeles on March 26-29, 2019 (see: http://www.vraweb.org/conferences/vra2019/). We welcome CAA members as well as any intensive image users and like-minded information professionals to join in on what will be an exciting schedule of workshops, sessions, meetings, tours, and social events in Southern California. The conference schedule can be found at https://vra2019.sched.com/ and registration will open in December 2018.
The VRA offers several awards to assist with attendance at the VRA Annual Conference. The Travel Awards Committee especially encourages applications from new members/first time conference attendees; veteran members who have not been able to attend conferences for several years; international members; solo, isolated, and part-time VR professionals; students considering careers in visual resources; and any member actively participating in the conference who lacks sufficient funding to attend. You do not need to be a member of the VRA to apply for a travel award, but please note that to receive an award an applicant must become a member of VRA and must attend the 2019 Conference. The deadline for receipt of applications is Friday, November 16, 2018, 11:59pm EST. For more information about the types of travel awards, guidelines, and application information, see: http://vraweb.org/apply-for-a-vra-la-2019-travel-award/.
The Visual Resources Association is a multidisciplinary organization dedicated to furthering research and education in the field of image management within the educational, cultural heritage, and commercial environments affiliated with CAA (http://vraweb.org/). For more information about the important work and professional development activities sponsored by the Visual Resources Association or the VRA Foundation, please contact Maureen Burns, VRA’s CAA Affiliate Representative at moaburns@gmail.com or 310-489-3792.
Society of Architectural Historians (SAH)
The Society of Architectural Historians is accepting session proposals for the SAH 2020 Annual International Conference in Seattle, Washington (April 29–May 3). The Society invites its members, including graduate students, independent scholars and representatives of SAH chapters and partner organizations, to chair a session at the conference. Session proposals covering every time period and all aspects of the built environment, including landscape and urban history, are encouraged. View the Call for Sessions and submit a proposal online at sah.org/2020/call-for-sessions. The submission deadline is January 15, 2019.
In a joint program with the Athenaeum of Philadelphia, SAH is pleased to offer the Charles E. Peterson Fellowship to support the participation of a graduate student in the research and writing for a volume in the Buildings of the United States (BUS) series and/or SAH Archipedia, the Society’s online architectural resource. The recipient will research some aspect of American architecture prior to 1860, which they may choose from a list of topics provided by authors of forthcoming BUS books. Applications are due by January 2, 2019.
The Sally Kress Tompkins Fellowship, a joint program of SAH and the National Park Service’s Historic American Buildings Survey (HABS), permits a graduate student in architectural history or a related field the opportunity to work on a 12-week HABS history project during the summer of 2019. The Fellow will prepare a written history that focuses on a significant U.S. building or site for the permanent HABS collection at the Library of Congress. The award consists of a $12,000 stipend and includes travel, hotel accommodation, and registration for the SAH 2019 annual conference up to $1,000. Applications are due by December 31, 2018.
Association of Art Museum Curators & AAMC Foundation
The Association of Art Museum Curators & AAMC Foundation is currently seeking nominations for the 2019 Awards for Excellence, its annual award dedicated to recognizing curators whose work offers new methodologies, considers the public’s understanding, and advances the field. Since their launch in 2004, nearly 170 curators have received this award from AAMC. Click here to view past recipients.
Only affiliated and independent curator(s) working in the nonprofit sector can receive an award. All nominations must be submitted by AAMC members in good standing, and we encourage self-nominations. Nominated curators do not need to be AAMC members but must be eligible for membership and become a member should they be selected as an Awardee. Those in other fields and in for-profit settings cannot be nominated. Self-nominations are encouraged and welcomed.
A nominator may submit more than one nomination in one or more of the following categories for work on view or published between January 1 and December 31, 2018:
- Outstanding Printed Exhibition or Permanent Collection Catalogue (awarded by art organization operating budget category)
- Outstanding Exhibition or Installation (awarded by art organization operating budget category)
- Outstanding Article or Essay (digital or print)
- Outstanding Digital Publication
Awardees are kept confidential until they are announced at the Annual Conference & Meeting during an Awards for Excellence reception on Sunday, May 5, 2019, in New York City. We hope that all Awardees will be able to join us at the event. Ability to attend the event does not influence the award selection process.
All nominations must be submitted through our online portal by 12PM ET on Friday, December 14. The deadline is fast approaching, so click here to submit your nomination today!
International Sculpture Center (ISC)
The International Sculpture Center, publisher of Sculpture magazine is a non-profit member supported organization promoting sculptors internationally. For the 2018 holiday season, the ISC is offering great gift deals. This includes 1 subscription for $35 or 2 for $60, 30% off ISC Memberships, All 5 ISC Press Publications for just $75, and the ISC Art Sale Project: Sculptors Supporting Sculpture. For more information, please visit: http://www.sculpture.org/holiday/
The ISC will host the 29th International Sculpture Conference in Portland, Oregon in Fall 2019. The Call for Panels will open this winter. For updates, visit: www.sculpture.org/portland19
Pacific Arts Association (PAA)
Pacific Arts Association XIII International Symposium March 25-28, 2019, Brisbane , Australia. Hosted by Queensland Museum, State Library of Queensland, Queensland Art Gallery/Gallery of Modern Art and Queensland Performing Arts Centre. Call for papers is now closed. Please join us in March. The theme of this symposium is RESILIENCE: sustaining, re-activating and connecting culture.
For more information contact paa.2019@qm.qld.au
Conference: Making Connections: ni-Vanuatu Artists, Objects and Histories, 2- – 22nd March 2019 at the national Library and Archives, Port Vila, Vanuau. Hosted by the Pacific Chapter of the Pacific Arts Association.
For more information contact ks-kf@xtra.co.nz
Symposium: Recent Advances in Barkcloth Conservation: at the Royal Botanic Gardens, Kew, UK. December 7th, 2018. This one-day meeting presents diverse approaches to understanding the making, conservation and display of barkcloth in several tropical regions. It will be of interest to conservators, curators, anthropologists, art historians, makers, and all who value this beautiful material
For more information contact m.nesbitt@kew.org
Foundations in Art: Theory and Education (FATE)
http://www.foundations-art.org/
Early Bird Registration Deadline Extended: November 15 for FATE’s 17th Biennial Conference, “Foundations in Flux,” will be hosted by Columbus College of Art & Design in Columbus, Ohio on April 4th-6th, 2019.
Call for Artwork Deadline: December 15: FATE 2019 National Juried Members Exhibition
More info: http://www.foundations-art.org/conferences
Positive Space is FATE’s bi-monthly podcast providing opportunities for those passionate about art foundations to discuss and promote excellence in the development and teaching of college level foundations in art & design studio and history classes. To check out the latest episodes, featuring Libby McFalls and Michael Arrigo, visit: https://www.foundations-art.org/positive-space
If you have podcast ideas, contact us! Positive Space has a phone number: 904-990-FATE. Give us a call & record a message today!
Join us December 14th, for a “Screen Grab,” a FATE Regional Workshop at Wayfarers Gallery, 1109 Dekalb Ave, Brooklyn, 11221. How are institutions using “the screen” in their visual art and design curriculum? The workshop will include hands-on screen-printing demos, innovative ways to incorporate screen printing even without formal facilities, introducing technological screen time into the studio classroom, and creating collaborative art work. Register with Meredith Starr at starrm@sunysuffolk.edu
More info: https://www.foundations-art.org/regional-events
Also join us during CAA 2019 for FATE’s Affiliate session, “Get Up, Stand Up: Contingent Faculty and the Future of Higher Education in the Visual Arts,” Friday, Feb 15, 2019, from 6 – 7:30pm in the Bryant Suite at the New York Hilton Midtown. Chaired by Naomi J. Falk and Richard Moninski, with panelists Christopher Williams, Mark Stemwedel, and Laura Rodman Huaracha. Increasingly, tenure-track positions disappear, contingent faculty numbers swell, and those who are left standing teach more classes. Is this sustainable and how do we support each other? https://caa.confex.com/caa/2019/meetingapp.cgi/Session/2304
Association for Textual Scholarship of Art History (ATSAH)
Karen Hope Goodchild, “Masaccio, Andrea del Sarto, Il Lasca, and the Sausage School of Florence,” Publication: Source. Volume 36, number 3/4 (Spring/Summer 2017), Seite [178]-187. Publisher: [2017]
Liana De Girolami Cheney, “The Symbolism of the Skull in Vanitas: Homo bulla est,” Journal of Cultural and Religious Studies (Fall 2018), Vol. 6. No. 5 (May 2018); 267-284.
Award invitation: ASSOCIATION FOR TEXTUAL SCHOLARSHIP IN ART HISTORY –AWARDS for Students and Scholars
In commemoration of our 30th anniversary, ATSAH plans to offer two awards: one prize for the best article by an emerging scholar (no higher than Associate level). The topic may range from classical to Pre-Raphaelite art, reflecting the aims of ATSAH. The second is a small travel grant for junior scholar presenting a paper an ATSAH session.The board of ATSAH selects these awards.
For further data, contact: Liana Cheney, PhD, President of ATSAH, lianacheney@earthlink.net
New Media Caucus
Media-N Journal of the New Media Caucus announces publication of Vol 14 No 1 (2018): CAA Conference Edition 2018 https://iopn.library.illinois.edu/journals/median/issue/view/4
This collection of essays and reports documents many of the activities of the New Media Caucus at the 2018 College Art Association Conference in Los Angeles, California, which took place February 22–24, 2018. More information about these gatherings can be found at http://www.newmediacaucus.org/2018-caa-los-angeles-events/