CAA News Today
Announcing New CAA Board Members for 2022!
posted by CAA — March 08, 2022
The results of the 2022 CAA Board of Directors Election were presented at the CAA Annual Business Meeting, Part II on Friday, February 18 at 2:00 p.m. (CST) at CAA’s 110th Annual Conference.
We are grateful to all the candidates who put forward their names for consideration this year.
ABOUT THE BOARD OF DIRECTORS
The Board of Directors is charged with CAA’s long-term financial stability and strategic direction; it is also the Association’s governing body. The board sets policy regarding all aspects of CAA’s activities, including publishing, the Annual Conference, awards and fellowships, advocacy, and committee procedures.
Thank you to all those who voted!
We would like to congratulate Gregory Gilbert, Nazar Kozak, Karen J. Leader, Adity Saxena, and Victoria McCraven on their election to CAA’s Board of Directors.
Gregory Gilbert
Gregory Gilbert received his BFA degree in Art History from the University of Kansas and his MA and PhD degrees in Art History from Rutgers University. He has taught at Rutgers University, Purdue University and Western Illinois University. He is currently Professor of Art History and Director of the Art History and Art Museum Studies programs at Knox College in Galesburg, Illinois. He also earned MA certification in Museum Studies from Rutgers University and has worked in several art museums, most recently as senior curator at the Figge Art Museum in Davenport, Iowa. His primary area of research is 20th century American art, specifically Abstract Expressionism. He is currently researching the relationship of Robert Motherwell’s art to Pragmatist philosophy and American poetics and in 2015 received a Dedalus Foundation Visiting Scholar at the Archives of American Art Fellowship for this project. He is also writing a book on Abstract Expressionism and the mass visual culture of World War II and has published articles in the Oxford Art Journal and Arts on this topic. In addition, he has written critical exhibition and book reviews for The Art Newspaper.
Nazar Kozak
Nazar Kozak is Senior Researcher at the Department of Art Studies at the Ethnology Institute of the National Academy of Sciences, Ukraine and Associate Professor of Art History at Ivan Franko University of Lviv. Kozak received a PhD from Lviv Academy of Arts in 2000. His research was supported by scholarships and grants from the Fulbright Scholar Program, Getty Scholar Program, the American Council of Learned Societies, and other organizations. Kozak is working in two subfields of art history simultaneously: medieval and contemporary. His research on the medieval period concerns political iconography and art exchanges in Byzantine and post-Byzantine cultural spheres. He has authored the book (Lviv: Liha-Pres, 2007). In contemporary art studies, Kozak is exploring art’s agency in crisis situations. His essay on the art interventions during the Maidan Revolution in Ukraine (2013–14) received an honorable mention as a finalist for 2018 Art Journal Award. Currently, Kozak is writing a book about global artistic responses to the 1986 Chernobyl nuclear disaster.
Karen J. Leader
Karen J. Leader is Associate Professor of Art History and Faculty Associate in the Center for Women, Gender and Sexuality Studies at Florida Atlantic University. She received her BA from the University of California, Berkeley and her MA and Ph.D. at the Institute of Fine Arts, New York University. Her areas of interest include art and popular culture in the 19th-21st centuries, feminist theory and practice, and the history and future of the discipline of art history, the humanities, and higher education. She has published on the artist Gustave Courbet, representations of women in popular culture, and 21st-century tattoo culture. She directs the Barb Schmidt Fellowship: Cultivating Community Involvement, Advocacy and Social Change, and is currently the chair of CAA’s Services to Historians of the Visual Arts Committee.
Victoria McCraven
Victoria McCraven is the Programs Manager at NXTHVN, where she recently co-curated the Fall Exhibition Christian Curiel: Between Reveries. Based in New Haven, Connecticut, NXTHVN is an arts non-profit which invites emerging artists from all over the world to participate in its curatorial and studio fellowships. She is passionate about expanding historical narratives through the visual arts and creating community-based dialogue. Victoria earned her bachelor’s degree from Dartmouth College, majoring in Geography with a minor in Art History. While at Dartmouth, she worked at the Hood Museum of Art where she curated the exhibition Black Bodies on the Cross which included works by Romare Bearden, Kara Walker, and Ashley Bryan. In 2019, Victoria was selected as a U.S.-U.K. Fulbright Postgraduate Grantee to complete her master’s degree in History of Art at the School of Oriental and African Studies, University of London. Previously, Victoria was the 2020-2021 Romare Bearden Graduate Museum Fellow at the Saint Louis Art Museum, where she worked on education and audience development projects across the museum. While completing her fellowship at the Saint Louis Art Museum, she co-curated the current New Media Series Nuotama Frances Bodomo: Afronauts which is currently on view through May 1, 2022.
Adity Saxena
I call myself a messenger of happiness and believe in empathy. Mind-map is my tool for plotting ideas and communicating through stories. In the past 18 years of my professional journey, I have progressed from a design educator of a vocational training institution to a Dean of the Woxsen School of Arts and Design, India. In addition, I have expanded my path from teaching to academic coordination to academic leadership.
Being a first-generation graduate, I have many pauses, slow and fast pace in my journey path, which gives me an understanding of people, culture, and power of empathy. I am a teenage girl’s mother, a certified design thinker, and a mentor.
My experience includes allied fields like working as a Restorative Justice co-facilitator in a school project in the United States and many global research projects. I am India representative of Restorative Justice Education, USA, a nonprofit, 501(c)(3) corporation) is to promotes the practice of Restorative in school education to create a culture of care.
The social role of art, wellbeing and education are the areas that interest me more. My research has been published globally and many of my research are the outcome of global collaborations. I have been invited to share my thoughts about the challenges in online education, corporate storytelling, and design thinking on many international platforms.
I have been featured in The Academic Woman Magazine, the UK, in Jan-March, 2022 issue. In addition, recently, I have been invited to work as an external member in Design Thinking for Social Change, a project funded by the European Union.
I am privileged to be connected with a global network and believe in the power of collaborations. My dream is to create an enjoyable learning space for students and teachers.
Committee on Women in the Arts (CWA) Picks: January/February
posted by CAA — January 31, 2022
The January/February “Picks” selected by the Committee on Women in the Arts reflect on the difficult pursuit of creative freedom through idiosyncratic yet careful explorations of color, form, genre, and medium as well as voice and address. The results are odd, anxious atmospheres that test reality’s bodily contours and lament the strange alienations and lurking injustices that constitute normalcy.
Joan Semmel, Untitled (Fem Folio), 2007, Digital Print, 12 x 12 inches, copyright©Joan Semmel/Artists Rights Society (ARS) New York
Mika Tajima: You Must Be Free
January 22 through March 12, 2022
Kayne Griffin, Los Angeles
From an early investigation into the regulatory and relational structures of human bodies in built environments, Mika Tajima’s recent work extends her inquiry into the conditions of human agency and self-determinacy. This exhibition focuses on the necessity and impossibility of freedom in our contemporary moment. The title, You Must Be Free, appears as an external command to achieve freedom and produces a contradictory tension that reveals a social limit to its practice. The speech act presents freedom as a pressing desire and controlling demand on the subject, underlining the entwinement of control and freedom. The animating force of this paradoxical directive is manifested in this exhibition as air pressure and its circulation through contained and porous objects and architecture.
Brittany Tucker: Burnout
January 8 through February 5, 2022
Steve Turner Gallery, Los Angeles, California
Burnout is a solo exhibition by Vienna-based Brittany Tucker featuring new large-scale loosely rendered paintings, half of which incorporate text that was spray-painted on in a street-tag manner. Tucker’s works of the past few years often juxtaposed a realistic likeness of the artist interacting with cartoon-like characters. In these works, her principal cartoon nemesis of the past, a smiling, often taunting white man, is featured in but one canvas, where he is spilling black paint off the bottom edge of the canvas. Hand prints and foot prints mark the background around him, but Tucker is otherwise absent from the scene. When Tucker’s likeness appears in other works, she appears to be uncomfortable, contorted, or obscured. According to the artist, these works represent her desire to shut out the world’s expectations of a Black female artist and to work more impulsively. As a consequence, they represent an unrestrained portrait of her psychological state as an expat living, working and studying in Vienna in which confusion, sadness, emotional fragility, self-reflection, honesty and ultimately courage and optimism are portrayed.
Joan Semmel: Skin in the Game
October 28, 2021 through April 3, 2022
Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania
Joan Semmel: Skin in the Game includes approximately 40 paintings that show the remarkable continuity and assiduity of Semmel’s practice, and focus on four main themes—erotic abstraction; the self; expressive figuration; and photography and painting—that traverse five decades of work and reveal a strong counter narrative to the traditional telling of the history of painting in the United States from the late 1960s to today. Semmel’s work reflects the ongoing struggle for women’s equal representation and power to make decisions about their own bodies and sexuality while centering female empowerment through the self. In Semmel’s own words: “I do not pretend to address the problems of all women in the world. My work is personal and I speak for myself. Women artists have to speak for themselves and then unite to fight the political fight.”
Allison Katz—Artery
January 14 through March 13, 2022
Camden Art Centre, Arkwright Road, London
Attending to the idiosyncratic and eccentric, to personal mythologies and embodied experience, painter Allison Katz treats her own biography as source material, as well as drawing from dream objects, art historical references, and the texture of everyday life. Her exhibition unfolds through a series of biographical anecdotes and moments of synchronicity, opening the world up to a game of allusions, double entendre, slips and wordplay.
Emily: Desert Painter of Australia
January 21 through March 12, 2022
Gagosian, Paris, France
Emily: Desert Painter of Australia is the first solo exhibition in France of the work of Emily Kame Kngwarreye (1910–1996). Emily is unique among Indigenous Australian painters for her rapid and systematic exploration of different styles and for her bold inventiveness with regard to form and color. Over time, her mesmerizing early “dot” paintings ceded to more gestural canvases, reduced in their detail and liberated in their formal qualities. Until her death in 1996, she painted prolifically on both intimate and grand scale, with brushes, sticks, and fingertips on unstretched linen laid flat on the ground, sitting beside or within the composition itself
Laurie Anderson: The Weather
September 24, 2021 through July 31, 2022
Hirshorn Museum and Sculpture Garden, Washington D.C.
Laurie Anderson: The Weather is the largest-ever U.S. exhibition of artwork by celebrated multimedia artist Laurie Anderson. Spanning her groundbreaking video and performance works from the 1970s to recent years, the exhibition guides visitors through an immersive audiovisual experience in the Museum’s second-floor galleries. This dynamic survey showcases the artist’s boundless creative process by highlighting time-based media, including To the Moon (2018), a 15-minute virtual reality work, as well as the largest exhibition of her paintings to date.
Lucy Kim: Skin Might See
January 24 – March 5, 2022
University Gallery, UMASS Lowell
Skin Might See includes the first gallery showing of Kim’s Knife Paintings, as well as work from her Auto-Synthetic series. Kim is a visual artist who uses mold making and illusionistic painting to create hybrid objects that navigate the borderlands between painting and sculpture. She describes mold making and casting as a “sculptural surrogate for photography.” In both bodies of work there is intrigue in the tension between skin and cast surface. Curator Julie Poitras Santos wrote that in Kim’s oeuvre “the surface skin competes for visual primacy with the three dimensional form…“ These startling integuments often seem at odds with the kitchen accoutrements and other structures that lie beneath, creating a frisson and a place of interrogation between media and meaning.
CAA Then & Now: Reflections on the Centennial Book and the Next Century
posted by CAA — November 15, 2021
Cover of The Eye, the Hand, the Mind: 100 Years of the College Art Association, edited by Susan Ball (Rutgers, 2011) featuring detail of Faith Ringgold, The Sunflower Quilting Bee at Arles, 1996
On November 4, CAA had the privilege to host the digital event celebrating The Eye, the Hand, the Mind: 100 Years of the College Art Association. If you were unable to make it, please watch this recording of the event.
Published in 2010, this book documents and examines over a century of CAA’s history. The event features Susan Ball, editor of the publication, and author Julia Sienkewicz, who will discuss their contributions to the project and how topics and issues have shifted and changed in the last decade. A conversation between CAA CEO and Executive Director, Meme Omogbai, and art historian, Anne Higonnet, will reflect on these insights and CAA’s plans for the future. This conversation also will honor Robert L. Herbert, the dedicatee of the book, and will discuss how his legacy has impacted the field and so many at CAA.
Following this event, CAA will release a series of short videos from authors discussing their specific chapters within the book, including Julia A. Sienkewicz, Judith Brodsky, Ellen Levy, and Karen Leader. Their presentations will cover a range of topics concerning CAA’s history, from advocacy and feminist initiatives to CAA’s past exhibition programs and conferences.
About the book:
Susan Ball, editor. The Eye, the Hand, the Mind: 100 Years of the College Art Association (Rutgers University Press, 2011). Copies are available for purchase here.
In 1911 the College Art Association began with a small group of college art teachers whose single mission was to promote “art interests in all divisions of American colleges and universities.” One hundred years later the CAA, as it is commonly known, is as diverse as the decades that witnessed its maturity and growth. As leadership and membership grew dynamically, art and art history professors were joined by non-academic visual artists and art historians, museum professionals, art librarians, visual resource curators, independent scholars and artists, collectors, dealers, conservators, and non-college educators.
The Eye, the Hand, the Mind is a collaborative journey, filled with pictorial mementoes and enlivening stories and anecdotes. In these essays readers discover the important role CAA played in major issues in higher education such as curriculum development, preservation of world monuments, workforce issues and market equity, intellectual property and free speech, capturing conflicts and reconciliations inherent among artists and art historians, pedagogical approaches and critical interpretations/interventions as played out in association publications, annual conferences, advocacy efforts, and governance.
Celebrating the centennial of CAA members and milestones, Susan Ball and renowned contributors honor the organization’s complex history which, in part, also represents many learned societies and the humanities over the last one hundred years.
About the speakers:
Susan Ball, Ph.D.: Susan Ball edited The Eye, the Hand, the Mind. Ball holds a Ph.D. in art and architectural history from Yale University and holds over 35 years of professional experience – as a professor, scholar, museum professional and nonprofit agency director. Ball served as Interim Director of Programs at the New York Foundation for the Arts (NYFA). Prior, she was Executive Director at the College Art Association, Professor of Art History at the University of Delaware, the Director of Government and Foundation Affairs at the Art Institute of Chicago, and a consultant with the Shelley and Donald Rubin Foundation. As an author and editor, she has contributed significant works of scholarship in her field, such as The Profitable Artist: A Handbook for All Artists in the Literary, Media, Performing, and Visual Arts with Peter Cobb and Felicity Hogan (Allworth Press, 2011), and has served on many boards.
Julia A. Sienkewicz, PhD: In The Eye, the Hand, the Mind, Sienkewicz authored the chapter, “Uniting the Arts and the Academy: A History of the CAA Annual Conference.” Sienkewicz, an Associate Professor of Art History at Roanoke College, holds both an MA and PhD from the University of Illinois and a BA from Mt. Holyoke College. She is the author of Epic Landscapes: Benjamin Henry Latrobe and the Art of Watercolor (2019). Currently, she is at work on the monograph Forms of White Hegemony: Transnational Sculpture, Racialized Identity, and the Torch of Civilization, 1836-1865, research that has been recognized with the award of a Terra Foundation Fellowship at the American Academy in Rome. She recently edited a special issue of the Art History Pedagogy and Practice journal entitled, “Teaching and Learning the Art History of the United States.” Sienkewicz served in leadership roles at CAA for more than a decade, most recently concluding a term on the Board of Directors as the VP for Committees.
Anne Higonnet, Ph.D.: Anne Higonnet is now Professor of Art History at Barnard College of Columbia University. She received her BA from Harvard College in 1980 and her PhD from Yale University in 1988 under Robert Herbert. Her work has been supported by Getty, Guggenheim, and Social Science Research Council fellowships, as well as by grants from the Mellon, Howard and Kress Foundations. In 2019-2020 she was a Fellow at the Harvard-Radcliffe Institute. She has published many essays, five print books, and two book-scale digital projects, is a prize-winning teacher, and has lectured widely, including in the Live Arts program of the Met Museum. One of her courses, Clothing, is among the most popular at Barnard and Columbia. She is now writing a book under contract with Norton: Three Fashion Stars and the Revolution They Wore; Joséphine Bonaparte, Juliette Récamier, Térésia Tallien.
Meme Omogbai, CAA Executive Director and CEO: Before joining CAA, Omogbai served as a member and past board chair of the New Jersey Historic Trust, one of four landmark entities dedicated to preservation of the state’s historic and cultural heritage, and Montclair State University’s Advisory Board. Named one of 25 Influential Black Women in Business by The Network Journal, Meme has over twenty-five years of experience in corporate, government, higher education, and museum sectors. As the first American of African descent to chair the American Alliance of Museums (AAM), Omogbai led an initiative to rebrand the AAM as a global, inclusive alliance. While COO and trustee, she spearheaded a major transformation in operating performance at the Newark Museum. During her time as deputy assistant chancellor of New Jersey’s Department of Higher Education, Omogbai received legislative acknowledgment and was recognized with the New Jersey Meritorious Service award for her work on college affordability initiatives for families. Omogbai received her MBA from Rutgers University and holds a CPA. She did postgraduate work at Harvard University’s executive management program and has earned the designation of Chartered Global Management Accountant. She studied global museum executive leadership at the J. Paul Getty Trust Museum Leadership Institute, where she also served on the faculty.
Announcing the CAA 2022 Distinguished Scholar
posted by CAA — October 26, 2021
Kirsten Pai Buick
We’re delighted to announce the Distinguished Scholar session at the 110th CAA Annual Conference will honor Kirsten Pai Buick. This session will highlight her career and provide an opportunity for dialogue between and among colleagues. It will be held virtually during the 110th Annual Conference on February 17, 2022.
Established in 2001, the Distinguished Scholar Session illuminates and celebrates the contributions of senior art historians. The Annual Conference Committee identifies the distinguished scholar each year and each session typically brings together the distinguished scholar and a group of colleagues. The honoree’s involvement is fundamental to the series as a way of demonstrating a living tradition that gives voice to the continuities and ruptures that have shaped art-historical scholarship from the twentieth century into the new millennium.
Access to this program requires registration and is included with an All Access registration. Recordings will be accessible to registrants after the event. Register here.
“I identify as a scholar of the visual and material culture of the first British Empire, and the British diaspora in the US, Caribbean, and India. My teaching encompasses topics such as surveys of British Colonial and U.S. Art, American Landscape representation, African American Art, Pro- and Anti-Abolitionist Images in the Atlantic World; and seminars such as Photographing Jim Crow, 1890-1965, Patronizing Women: Taste and Collecting in the 19th and 20th Centuries, and The Victorian Nude: Representing Women, Men, Intersex, and Children. My research and teaching interests encompass histories of science, medicine, religion, as well as monuments, and the use of public space. Increasingly, I am interested in the racialization of mobility—what I characterize as critical mobility studies. I publish primarily in the realm of the history of African American art and its roots in US cultural formations. My first book, “Child of the Fire: Mary Edmonia Lewis and the Problem of Art History’s Black and Indian Subject,” is a good example of how I wed my teaching and publication imperatives together with my challenge to art history and visual studies to be more and to do better. Ultimately, teaching is my passion; and I tell my students that job # 1 is surviving the damage, and job # 2 is to never concede the center.”
Kirsten Pai Buick is a professor of art history at the University of New Mexico. She received her Ph.D. in art history from the University of Michigan and was a SAAM Predoctoral Fellow and a Charles Gaius Bolin Fellow at Williams College. Buick is a recipient of the David C. Driskell Prize for African American Art and has published extensively on African American art, including her book Child of the Fire: Mary Edmonia Lewis and the Problem of Art History’s Black and Indian Subject (Duke Univ. Press, 2010). Her second book, In Authenticity: “Kara Walker” and the Eidetics of Racism, is in progress.
CAA’s Resources to Combat Departmental Closures in Art and Art History Departments
posted by CAA — July 09, 2021
For our members and the larger visual arts community, CAA is disheartened by recent and continued actions on departmental closures in Art and Art History departments. The following links offer resources to use as we continue to determine the actions going forward:
In 2020, CAA signed on to advocacy with the ACLS: http://www.collegeart.org/news/2021/02/01/caa-signs-on-to-acls-statement-on-recent-kansas-board-of-regents-actions/
Earlier Advocacy posts and response:
https://www.collegeart.org/news/2018/09/17/caa-to-issue-best-practices-for-addressing-proposed-changes/
https://www.collegeart.org/news/2018/11/12/caa-guidelines-arts-and-humanities/
The 2018 survey of universities with departmental closures:
https://www.collegeart.org/news/2018/11/08/colleges-facing-cuts-to-arts-and-humanities/
Since 2018, several other institutions have closed and continue to close. Today our constituency has been affected by this ongoing situation over the past 13 years. CAA cannot stop any institution of art, design or art-history from the decision, necessitated by financial situation or otherwise, to close. To best support our community, as a part of our ongoing repositioning and digital transformation, CAA has identified the importance and continued growth of an e-learning model and publications to recognize and support those currently and who continue to be affected.
CAA has a robust and active group of committees, Board of Directors, and other members who all continue to work together and move forward upcoming guidelines and best practices, to survey and respond to the ongoing needs of our constituencies. The advocates within our organization help strengthen the organization as a part of the community of large.
Meet the Spring 2021 Millard Meiss Publication Fund Grant Recipients
posted by CAA — June 24, 2021
Mbanza Kongo (São Salvador), capital of the Kingdom of Kongo, mid-18th century
MEET THE GRANTEES
Twice a year, CAA awards grants through the Millard Meiss Publication Fund to support book-length scholarly manuscripts in the history of art, visual studies, and related subjects that have been accepted by a publisher on their merits, but cannot be published in the most desirable form without a subsidy.
Thanks to the generous bequest of the late Prof. Millard Meiss, CAA began awarding these publishing grants in 1975.
Spring 2021 Grantees
Annette de Stecher, Wendat Women’s Art, McGill-Queen’s University Press
Sylvia Houghteling, The Art of Cloth in Mughal India, Princeton University Press
Pamela Karimi, Alternative Iran: Radical Spatial Strategies in Contemporary Art Practice, Stanford University Press
Meredith Martin and Gillian Weiss, The Sun King at Sea: Maritime Art and Galley Slavery in Louis XIV’s France, Getty Research Institute
Ying-Chen Peng, Artful Subversion: Empress Dowager Cixi’s Image Making in Art, Yale University Press
Yael Rice, Agents of Insight: Artists, Books, and Painting in Mughal South Asia, University of Washington Press
Sarah-Neel Smith, Metrics of Modernity: Art and Development in Postwar Turkey, University of California Press
Bert Winther-Tamaki, Tsuchi: An Environmental History of Contemporary Japanese Art, University of Minnesota Press
Support CAA using Amazon Smile
posted by CAA — June 22, 2021
Did you know that you can make a gift to CAA using Amazon Smile? Amazon donates 0.5% of the price of eligible smile.amazon.com purchases to the organization selected by customers — at no cost to you. Our charity link will automatically direct you to Amazon, where you will be asked to confirm that you would like your Amazon purchases to support CAA.
As a 110-year-old organization, we are proud to serve a global community of artists, designers, students, and scholars through advocacy, intellectual engagement, and a commitment to the diversity of practices and practitioners. During this pivotal moment it is more important than ever that we support our visual arts community. We hope that you will join us in our mission and help us bring our programs and publications to life by using Amazon Smile today.
Deadline Extended for Jury Vacancies for Spring, 2021
posted by CAA — June 14, 2021
CAA is extending our call for nominations for jury participation. CAA invites nominations and self-nominations for individuals to serve on our Awards for Distinction, Publication Grant, Fellowship, and Travel Grant juries. Terms now begin August 2021.
Candidates must possess expertise appropriate to the jury’s work and be current CAA members. They should not hold a position on a CAA committee or editorial board beyond May 31, 2021. CAA’s president and vice president for committees appoint jury members for service. Materials are due to CAA by July 14, 2021.
Amanda Williams speaks at Convocation at CAA’s 108th Annual Conference in Chicago
Awards for Distinction Juries
CAA has vacancies in the following juries for the annual Awards for Distinction for three years (2020–2023). Terms begin in July 2021.
- Art Journal Award, one vacancy
- Charles Rufus Morey Book Award for non-catalogue books in the history of art, two vacancies
- Jury for the Artist Award for Distinguished Body of Work, Distinguished Artist Award for Lifetime Achievement, and Distinguished Teaching of Art Award, two vacancies
- Jury for the Distinguished Teaching of Art History Award and the Distinguished Lifetime Achievement Award for Writing on Art, one vacancy
- Distinguished Feminist Awards for Scholars and Artists, two vacancies
- CAA/American Institute for Conservation Award for Distinction in Scholarship and Conservation, one vacancy
Publication Grant Juries
CAA has vacancies on our Wyeth Foundation Publication Grant jury for three years (2021–2024) and the Terra Foundation for American Art Publication Grant jury for one year (2021 –2022).
- Wyeth Foundation Publication Grant in American Art, two vacancies
- Terra Foundation for American Art Publication Grant, three vacancies
Professional Development Fellowship Juries
CAA has vacancies on our Professional Development Fellowship juries for three years (2021–2024). Terms begin July 2021.
- Professional Development Fellowship in Visual Arts, two vacancies
- Professional Development Fellowship in Art History, two vacancies
Travel/Support Grant Juries
CAA has vacancies on our jury for three years (2021–2024). Terms begin July 2021.
- CAA Support Grant in Memory of Archibald Cason Edwards, Senior, and Sarah Stanley Gordon Edwards, one vacancy
How to Apply
Nominations and self-nominations should include a brief statement (no more than 150 words) outlining the individual’s qualifications and experience and a CV (an abbreviated CV no more than two pages may be submitted). Please send all materials by email to Cali Buckley: cbuckley@collegeart.org. Nominations must be sent as a Microsoft Word or Adobe PDF attachment.
For questions about jury service and responsibilities, contact Tiffany Dugan, CAA Director of Constituency Engagement: tdugan@collegeart.org.
Deadline: July 14, 2021
CWA Picks: May 2021
posted by CAA — June 04, 2021
The May Picks from the Committee on Women in the Arts highlight a selection of events, exhibitions and calls for work that include feminist and womxn artists, and address issues about social justice, climate change and the ongoing global pandemic. Several of the exhibits expand and rework traditional narratives of American history, providing a more inclusive account of our country’s past and its current state.
Sonya Clark: Heavenly Bound
April 10 – September 12, 2021
deCordova Sculpture Park and Museum
Sonya Clark’s Heavenly Bound, currently on view at the deCordova Museum and Sculpture Park, explores the Underground Railroad and its connection to those seeking freedom throughout history and today. The piece includes a series of large-scale photographs of abolitionists, a night sky made up of the artist’s hair, a parachute installation and a book of cyanotype constellations, which all reference the treacherous journey that self-emancipated Black Americans experienced during their escape.
Personal and Political: Women Photographers, 1965–1985
May 1 – November 28, 2021
Adriana Lestido, Mother and Daughter from Mothers of Plaza de Mayo, 1982. Courtesy Museum of Fine Arts, Boston
Personal and Political: Women Photographers, 1965–1985 includes the work of many well-known American photographers including Diane Arbus and Nan Goldin alongside recently acquired works by lesser-known artists working internationally such as Adriana Lestido and Paz Errázuriz. The exhibit focuses on a specific time in photographic history when women were becoming professional photographers at a higher rate than ever before.
Sharon Harper: Returning Light
April 9 – June 25, 2021
Installation view
Sharon Harper’s Returning Light, currently on view at Rivalry Projects, includes several series of photographs that investigate the cycles of light, providing a more macro view of time and space. Through the imprint of light Harper’s work instills a sense of awe and points toward the changing climate and landscape of our world.
Ground/work
Aug 1, 2020 – Oct 1, 2021
Ground/work includes the installation work of Kelly Akashi, Nairy Baghramian, Jennie C. Jones, Eva LeWitt, Analia Saban, and Haegue Yang. Each of the site-specific pieces considers the relationship between sculpture and nature as well as notions of time, scale and transformation.
Judy Chicago Art Education award
Deadline: June 1, 2021
The Judy Chicago Art Education Award is open to scholars, artists, and educators whose projects engage with the Judy Chicago Research Portal. The award includes a $2,500 prize along with a certificate to be presented in July 2021 in Belen, New Mexico.
Allison Katz: Artery
May 22 – October 31, 2021
Allison Katz’s exhibition, Artery includes paintings, ceramics and posters created in the past 18-months during a time of ongoing national lockdowns. The title of the exhibit speaks to the artist’s interest in networks and systems of connection as well as the spaces in between what is shared and private. Katz’s work will be on display at Nottingham Contemporary through October 2021 and will then be revisualized for the Camden Art Centre in January 2022.
On Hannah Arendt: What is Authority?
April 26 – June 6, 2021
What is Authority? exhibits work from Lili Dujourie, Everlyn Nicodemus, Lerato Shadi and sound artist Laima Leyton. The exhibit is part of a year-long series of shows inspired by Hannah Arendt’s writings about power structures.
Girl You Want
May 1 – August 1, 2021
Genevieve Gaignard, Black is Beautiful, 2016. Installation view in ArtYard’s gallery, 2021. Courtesy of the artist and Vielmetter, Los Angeles, photo by Paul Warchol
Girl You Want, curated by J. Vanessa Lyon, includes the work of Genevieve Gaignard, Julia Greenburger, Jen Liu, Josh Rabineau, Wendy and Beatrice Red Star, Karinne Smith, Ivy Stewart, and María Vargas Aguilar. The exhibit is a broad exploration of what it means to be a girl and traverses the space between girlhood and adulthood.
Promise, Witness, Remembrance
April 7 – June 6, 2021
Installation view, Promise, Witness, Remembrance, Speed Art Museum, Louisville, Kentucky. Photo by Xavier Burrell
Promise, Witness, Remembrance was created under the direction of Breonna Taylor’s family along with a committee of artists, mental health professionals and community members. The exhibit pays tribute to Taylor’s life, reflecting on her killing in 2020 and the subsequent protests that took place both locally in Louisville and globally. The artists in this exhibit explore the disconnect between what the American dream has promised and the reality for many of its citizens.
Artist Residency
Deadline: October 1, 2021
Turkey Land Cove Foundation (TLC) offers a residency opportunity in Martha’s Vineyard for women who are in any stage of a project from development to completion. TLC specifically supports applicants who could not otherwise personally finance a residency. Room and board along with travel expenses are provided.
Call for Submissions
Deadline: July 15, 2021
For the 20th annual issue, Mom Egg Review is requesting submissions that respond to the idea of “Mother Figures.” Artwork and Literary pieces including poetry, nonfiction, short fiction, and hybrid works should be submitted by July 15, 2021 for consideration. You do not need to be a mother to participate.
Announcing the 2021 Terra Publication Grant Winners
posted by Allison Walters — April 26, 2021
CAA is pleased to announce the 2021 recipients of the Terra Foundation for American Art International Publication Grant.
This program, which provides financial support for the publication of book-length scholarly manuscripts in the history of American art, is made possible by a generous grant from the Terra Foundation for American Art.
The nine Terra Foundation grantees for 2021 are:
Julie Ault, ed., Hidden in Plain Sight: Selected Writings on Asian American Art by Karen Higa, Dancing Foxes Press
Melissa Dabakis and Paul Kaplan, eds., Republics and Empires: Italian and American Art in Transnational Perspective, 1840-1970, Manchester University Press
Alice Dusapin, Wolfgang Stoerchle: Success in Failure, octopus/Christophe Daviet-Thery
Richard Hertz, Jack Goldstein and the CalArts Mafia, Les presses du réel, translation from English to French
Amy Von Lintel and Bonnie Roos, Expanding Abstract Expressionism: Women Artists and the Middle American West, Texas A&M University Press
Margaretta Markle Lovell, Painting the Inhabited Landscape: Fitz H. Lane and The Global Reach of Antebellum New England, The Pennsylvania State University Press
Friederike Schaefer, Claiming Space(s). Locating Suzanne Harris’ Dance Practice and Ephemeral Installations within New York City in the 1970s, De Gruyter
The International Author Conference Subventions confer two non-US authors of top-ranked books travel funds and complimentary registration to attend CAA’s 2022 Annual Conference in Chicago, February 16-19; they also received one-year CAA memberships.
The two author awardees for 2021 are:
- Alice Dusapin
- Friederike Schaefer
