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2018 CAA Annual Conference. Photo: Rafael Cardenas

In fall 2018, we announced CAA had received an anonymous gift of $1 million to fund travel for art history faculty and their students to special exhibitions related to their classwork. The generous gift established the Art History Fund for Travel to Special Exhibitions.

The jury for the Art History Fund for Travel to Special Exhibitions met in May 2019 to select the first group of recipients as part of the gift.

The awardees are:

Catherine Girard, Eastern Washington University
Class: Topics in Art History: Manet Inside Out
Exhibition: Manet and Modern Beauty at The J. Paul Getty Museum, Los Angeles

Luis Gordo Peláez, California State University Fresno
Class: Arts of the Colonial Andes
Exhibition: Art & Empire: The Golden Age of Spain at The San Diego Museum of Art

Alison Miller, University of the South
Class: Japanese Print Culture
Exhibition: Yoshitoshi: Spirit and Spectacle at the Minneapolis Institute of Art

Rachel Stephens, University of Alabama
Class: American Portraiture
Exhibition: Black Out: Silhouettes Then and Now at the Birmingham Museum of Art

“We’re delighted to announce the inaugural recipients of the Art History Fund for Travel to Special Exhibitions, a groundbreaking CAA program designed specifically to enhance students’ first-hand knowledge of works of art,” said Hunter O’Hanian, CAA’s executive director. “The new Fund places a spotlight on the critical work art history scholars are doing to grow the field, with CAA as the go-to organization supporting and advancing their work.”

The Art History Fund for Travel to Special Exhibitions supports travel, lodging, and research efforts by art history students and faculty in conjunction with special museum exhibitions in the United States and throughout the world. Awards are made exclusively to support travel to exhibitions that directly correspond to the class content, and exhibitions on all artists, periods, and areas of art history are eligible.

Applications for the second round of grants will be accepted by CAA beginning in fall 2019. Deadlines and details can be found on the Travel Grants page.

New in

posted by CAA — Jun 14, 2019


Emily Orr covers two publications on Norman Bel Geddes, The Man Who Designed the Future by B. Alexandra Szerlip, and Nicolas P. Maffei’s Norman Bel Geddes: American Design Visionary. Read the full review at

Sonya S. Lee discusses the exhibition The Jeweled Isle: Art from Sri Lanka, currently on view at Los Angeles County Museum of Art. Read the full review at

James King, FRSC, reviews Higher States: Lawren Harris and His American Contemporaries by Roald Nasgaard and Gwendolyn Owens. Read the full review at

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The Millard Meiss Publication Fund is made possible by a generous bequest of the late Prof. Millard Meiss. Two times each year, CAA awards grants to publishers in art history and visual culture to support presses in the publication of projects of the highest scholarly and intellectual merit that may not generate adequate financial return.

The Meiss grantees for spring 2019 are:

Bajorek, Jennifer, Unfixed: Photography and Decolonial Imagination in West Africa, Duke University Press, 2019.

Busbea, Larry, The Responsive Environment: Design, Aesthetics, and the Human in the 1970s, University of Minnesota Press, 2019.

Fozi, Shirin, Romanesque Tomb Effigies: Death and Redemption in Medieval Europe, 1000-1200, Penn State University Press, 2020.

Guinness, Katherine, Schizogenesis: The Art of Rosemarie Trockel, University of Minnesota Press, 2019.

Naoi, Nozomi, Beyond the Modern Beauty: Takehisa Yumeji and the New Mediascape of Early Twentieth-Century Japan, University of Washington Press, 2019.

Newbury, Susanna, Speculations: Art, Real Estate, and the Making of Global Los Angeles, University of Minnesota Press, 2020.

Overton, Keelan, Iran and the Deccan: Persianate Art, Culture, and Talent in Circulation, 1400-1700, Indiana University Press, 2020.

Schwartz, Vanessa R., Jet Age Aesthetic: The Glamour of Media in Motion, Yale University Press, 2020.

Sichel, Kim, Making Strange: The Modernist Photobook in France, Yale University Press, 2020.

Silberstein, Rachel, Embroidered Figures: Fashion and Commerce in Nineteenth-Century China, University of Washington Press, 2020.

VanDiver, Rebecca, Negotiating Traditions: Loïs Mailou Jones and the Composite Aesthetics of Blackness, Penn State University Press, 2020.

Zinman, Gregory Austen, Making Images Move: Handmade Cinema and the Other Arts, University of California Press, 2020.

Learn more about the Millard Meiss Publication Fund.

In commemoration of the 50th anniversary of the Stonewall Riots and in celebration of Pride Month, we’ve made a collection of articles from Art Journal and The Art Bulletin focused on LGBTQ+ histories and perspectives free to read and explore online.

These articles will remain open access on Taylor & Francis through August 31, 2019.

We wish to thank Edward Rossa, CAA Summer 2018 intern, for his research on this archive. 

Title Author Volume /Issue/Year
Things are Queer Jonathan Weinberg Volume 55/Issue 4/1996
Making Trouble for Art History: The Queer Case of Girodet James Smalls Volume 55/Issue 4/1996
Imminent Domain: Queer Space in the Built Environment Christopher Reed Volume 55/Issue 4/1996
Goodbye Lesbian/Gay History Hello Queer Sensibility Robert Atkins Volume 55/Issue 4/1996
Unmasking Pablo’s Gertrude: Queer Desire and the Subject of Portraiture Robert S. Lubar Volume 79/Issue 1/1997
Biblical Gender Bending in Harlem: The Queer Performance of Nugent’s Salome Ellen McBreen Volume 57/Issue 3/1998
The Melancholia of AIDS: Interview with Douglas Crimp Tina Takemoto Volume 62/Issue 4/2003
Love Among the Ruins: David Cannon Dashiell’s Queer Mysteries Alison Mairi Syme Volume 63/Issue 4/2004
Robert Rauschenberg’s Queer Modernism: The Early Combines and Decoration Tom Folland Volume 92/Issue 4/2010
Conversations on Queer Affect and Queer Archives Tirza True Latimer Volume 72/Issue 2/2013
Imaginary Archives: A Dialogue Julia Bryan-Wilson & Cheryl Dunye Volume 72/Issue 2/2013
Queer Pier: 40 Years Thomas J. Lax, Jeannine Tang, A. Naomi Jackson, Parallel Lines, Ginger Brooks Takahashi & Marvin J. Taylor Volume 72/Issue 2/2013
Queer Formalisms: Jennifer Doyle and David Getsy in Conversation Jennifer Doyle & David J. Getsy Volume 72/Issue 4/2013
Why I Hate Diversity Jonathan D. Katz Volume 76/Issue 3-4/2017
Reading Jack Smith’s The Beautiful Book Reparatively Paisid Aramphongphan Volume 78/Issue 1/2019

Learn more about Art Journal and The Art Bulletin.

News from the Art and Academic Worlds

posted by CAA — Jun 12, 2019

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Photo Credit: Fay Fox

Facebook to Meet #WeTheNipple Campaigners Amid Nudity Censorship Row

The company’s announcement comes after a protest outside its New York headquarters, co-organized by the National Coalition Against Censorship and artist Spencer Tunick. CAA is one of over 250 signatories on the NCAC’s open letter to Facebook. (CNN)

‘It’s Helpful to Know All Scales’: Online Spreadsheet Discloses Museum Workers’ Salaries

In a sign of increasing demand for transparency at art institutions, hundreds of arts workers have anonymously shared their salary and employment information in an online spreadsheet. (ARTnews)

Protests at Oberlin Labeled a Bakery Racist. Now, the College Has Been Ordered to Pay $11 Million for Libel.

The verdict comes at a time of heightened scrutiny of free speech on college campuses. (Washington Post)

Stonewall: When Resistance Became Too Loud to Ignore

A look at the exhibitions marking the 50th anniversary of the Stonewall uprising, in conjunction with LGBTQ Pride Month. (New York Times)

Artists in 18 Major US Museums Are 85% White and 87% Male, Study Says

Researchers surveyed the collections of 18 major US museums to quantify the gender, ethnic, and racial composition of the artists represented in their collections. (Hyperallergic)

Biggest Offender in Outsize Debt: Graduate Schools

New data shows that the market for master’s degrees behaves in strange and erratic ways. (New York Times)

Filed under: CAA News

CAA-Getty Scholars at the 2019 Annual Conference in New York. Photo: Ben Fractenberg

The Getty Foundation has awarded CAA a grant to fund the CAA-Getty International Program for a ninth consecutive year. The Foundation’s support will enable CAA to bring twenty international visual-arts professionals to the 108th Annual Conference, taking place February 12-15, 2020 in Chicago. Fifteen individuals will be first-time participants in the program and five will be alumni, returning to present papers during the conference. The CAA-Getty International Program provides funds for travel expenses, hotel accommodations, per diems, conference registrations, and one-year CAA memberships to art historians, artists who teach art history, and museum curators.

The application portal is now open. Grant guidelines and the 2020 application can be found here.

“The Getty Foundation is proud to continue its commitment to the CAA-Getty International Program and offer support that brings together diverse scholars from around the world,” says Joan Weinstein, acting director of the Getty Foundation. “CAA’s dedication to this joint program strengthens the annual conference and builds the field of art history as a global discipline.”

Since the CAA-Getty International Program’s inception in 2012, it has brought over 120 first-time attendees from 46 countries to CAA’s Annual Conference. Historically, the majority of international registrants at the conference have come from North America, the United Kingdom, and Western European countries. The CAA-Getty International Program has greatly diversified attendance, adding scholars from Central and Eastern Europe, Russia, Africa, Asia, Southeast Asia, the Caribbean, and South America. The majority of the participants teach art history, visual studies, art theory, or architectural history at the university level; others are museum curators or researchers.

One measure of the program’s success is the remarkable number of international collaborations that have ensued, including an ongoing study of similarities and differences in the history of art among Eastern European countries and South Africa, attendance at other international conferences, publications in international journals, and participation in panels and sessions at subsequent CAA Annual Conferences. Former grant recipients have become ambassadors of CAA in their countries, sharing knowledge gained at the Annual Conference with their colleagues at home. The value of attending a CAA Annual Conference as a participant in the CAA-Getty International Program was succinctly summarized by alumnus Nazar Kozak, Senior Researcher, Department of Art Studies, National Academy of Sciences of Ukraine “To put it simply, I understood that I can become part of a global scholarly community. I felt like I belong here.”

Read our Member Spotlight with Nazar Kozak.

About the Getty Foundation

The Getty Foundation fulfills the philanthropic mission of the Getty Trust by supporting individuals and institutions committed to advancing the greater understanding and preservation of the visual arts in Los Angeles and throughout the world. Through strategic grant initiatives, it strengthens art history as a global discipline, promotes the interdisciplinary practice of conservation, increases access to museum and archival collections, and develops current and future leaders in the visual arts. It carries out its work in collaboration with the other Getty Programs to ensure that they individually and collectively achieve maximum effect.

CWA Picks for June 2019

posted by CAA — Jun 11, 2019

CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship to share with CAA members on a monthly basis. See the picks for June below.

Sara Cwynar, Tracy (Cezanne), 2017. Dye sublimation print. Courtesy of the artist, Cooper Cole, Toronto, Foxy Production, New York. © Sara Cwynar


March 8 – August 4, 2019
Milwaukee Art Museum

Sara Cwynar (b. 1985, Canada) explores both process and the power of the media in a variety of media including photography, collage, book-making and installation. Her first solo exhibition in the US, IMAGE MODEL MUSE at the Milwaukee Art Museum will feature three of her latest films—Soft Film (2016), Rose Gold (2017), and Cover Girl (2018) alongside photographs from her ongoing Tracy series (2008-current). Named for the model in the photographs, the Tracy images acknowledge the history of representation of women with discarded, high-modernist-era designed objects, connecting “the way we treat objects and the way we treat humans,” according to the artist in an Aperture interview. The photographs and films are multi-layered, intricate and deep with eye-catching, bright hues and sharp design, creating bold and successful works aesthetically and substantially. Her films combine these elements with traditions of experimental film and performance video, further questioning issues around imagery and circulation via the internet. Senses and minds are sure to be exercised at this dense exhibit.


May 1 – August 18, 2019
Denver Art Museum

This first major museum exhibition of artist Jordan Casteel (b. 1989, Denver) presents almost thirty paintings, from 2014 to present, showing the artist’s evolving practice and themes from cityscapes and subway scenes to women and local business owners. The oversized portraits with bold colors and intentional heavy contrast exude a clear and bold presence of the individuals and places that perhaps often aren’t paid more than a glance. In Benyam (2018), a trio of individuals at what appears to be a wine bar, look square into the viewers, their poses comfortable but intentional, background details like art on the walls and a plant, wine glasses, lacking much detail, complete the aura of the image, questioning who and what this art is about—those in the painting, those looking, or the moment of looking? Figures depicted sometimes vulnerable, sometimes jovial, always at ease, each one staring deeply at the viewer, presenting an intimate exhibition experience.


March 1 – September 1, 2019
The Nelson-Atkins Museum of Art, Kansas City

Artist Saya Woolfalk (b. 1979, Japan) created ChimaCloud, an alternative digital universe, via an extensive narrative of a fictional race of women she named the Empathics. This exhibition presents an immersive, multi-media experience incorporating themes of cultural hybridization, technology, identity, ceremonial rituals, and science fiction. Especially for this exhibition installation, Woolfalk drew her inspiration directly from the Nelson-Atkins permanent collection, adding a contextual and localized element. “What I hope is to have people feel a little bit distracted…and because they’re so unclear about where they are, they become open…so that, they can take that sense of openness with them into their everyday lives,” said the artist on the museum website. The bright colors, patterns, figures, and lights will likely transport and fulfill the artist’s want.

The 58th International Art Exhibition

May 11 – November 24, 2019
Biennale Arte 2019, Venice, Italy

For the first time in the history of the Venice Biennale half of those artists who contributed to the main exhibition entitled May You Live in Interesting Times, curated by Ralph Rugoff, are women.

Cathy Wilkes
British Pavilion

Cathy Wilkes’ exhibition, featuring new works created for the Biennale Arte 2019 in Venice, occupies the six rooms of the British Pavilion. The viewers are invited to a space filled with melancholy, stillness, and breath-taking natural Venetian daylight. Visiting Venice Biennale can be an overwhelming experience, with the abundance of artworks, the crowds, the queues and the discussions heard almost everywhere. Wilkes, with her characteristic sensibility and attention to the minutiae of matter, created an intimate space that seems to stand still. She stripped the Pavilion of any adornments and insisted on natural light soaking in. The sculptural installations are accompanied by prints and paintings changing hues and tones with the daily and nightly transformations of light. Those variations in colors and textures brought together into intimate relationships and juxtapositions are subtle and interconnected. Wilkes created a space filled with loss but also hope, invoking a sense of daily rituals, scattered across the rooms, disrupted but also complete.

Renate Bertlmann
Austrian Pavilion

For the first time in the history of Austrian contribution to the Venice Biennale, a female artist widely acclaimed in the international feminist avant-garde, Renate Bertlmann, was selected for a solo exhibition in the Austrian Pavilion. Her installation, entitled Discordo Ergo Sum (I disagree, therefore I am), playing on the Descartesian philosophical principle ‘Cogito Ergo Sum’ (I think, therefore I am), is an ironic statement and a subversion of established sociopolitical hierarchies and dichotomies, also within the art world. The artist appropriates a rich vocabulary of social symbols and reviews them from a feminist position encouraging multitude and diversity. At the heart of the exhibition Bertlmann installed a grid of 312 glass roses (hand blown in Murano) out of which protrude razor sharp blades. This is accompanied by a series of works exploring body images and a piece in front of the pavilion, Amo Ergo Sum (I love, therefore I am), which raise issues concerning the transformative potential of art, and gender violence.

Filed under: CWA Picks

New in

posted by CAA — Jun 07, 2019


Erin Silver discusses Jennifer L. Shaw’s Exist Otherwise: The Life and Works of Claude Cahun. Read the full review at

Megan Driscoll reviews Henry Taylor: The Only Portrait I Ever Painted of My Momma Was Stolen, with contributions by Zadie Smith, Sarah Elizabeth Lewis, Charles Gaines, and Rachel Kaadzi Ghansah. Read the full review at

John Muse delves into the exhibition Suzanne Bocanegra: Poorly Watched Girls. Read the full review at

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Affiliated Society News for June 2019

posted by CAA — Jun 06, 2019

Affiliated Society News shares the new and exciting things CAA’s affiliated organizations are working on including activities, awards, publications, conferences, and exhibitions.

Interested in becoming an Affiliated Society? Learn more here.

American Society of Appraisers

The 2019 ASA Personal Property Connoisseurship Conference – NY will be held at the Marriott Marquis centered in the heart of New York City. With a focus on The Fine and Applied Arts Professional in the 21st Century: How to Adapt, Function and Excel, this intensive three-day conference will provide hard-to-obtain insights into key topics and issues facing personal property appraisers and other art industry professionals.  Connect with experts, scholars, and allied professionals from across North America. Presenting speakers include individuals from the industry media, specialty auction houses, galleries, museums, and academia, among others. Register here:

Association of Art Museum Curators (AAMC)


Join us this June for a series of three webinars that will restructure and rethink how we consider the topic of management. By focusing on NavigationEnvironment and Advancement, the webinars will break with the traditional hierarchical and vertical manner in which conversations around management are typically approached. Each program will present dialogues relevant to all career stages, and will consider ways in which the topic can impact sense of self, well-being, and personal success.

Webinar 1: Navigation – June 11, 2019

Webinar 2: Environment – June 18, 2019

Webinar 3: Advancement – June 25, 2019

Organized and hosted by the AAMC Foundation the series is open to all, with AAMC members receiving discount admission. Limited space is available, register today!


AAMC members are invited to Submit a Session Proposal for the 2020 AAMC & AAMC Foundation Conference, slated for May 2 – 5, 2020 in Seattle, WA. We are seeking proposals on the topic of advancing curatorial work and art organizations beyond traditional and perceived thresholds and boundaries. In selecting this topic, we anticipate dialogues reconsidering linear narratives, challenging concepts of borders, investigating social and cross cultural interactions, and engaging in activism.

We request proposals considering the full spectrum of interpretations, looking at possible topics holistically and not solely through the curatorial lens. Sessions should propose discussions acknowledging community, which involves our workplace colleagues and partners; donors and sponsors; visitors and neighbors; for-profit arts sector; and more. As with all our programming, the proposals should be inclusive and welcoming of a diverse audience. Review the full guidelines and submit your session proposal before 5PM ET on Monday, June 24, 2019.


Applications are open for AAMC Foundation’s Mentorship Program, which gives early- to mid-career curators opportunities to advance their professional development, learn about important issues in the field, share ideas and cultivate strong bonds with peers, and develop a working relationship with a senior curator. The program’s goal is to advance the skills, experience and knowledge needed to succeed in a curatorial career, not specifically develop a singular curatorial or scholarly project. All Mentees are provided funding to accommodate program components, including travel and other benefits, which are outlined in greater detail here. A group of curator jurors will select ten mentees for 2019-2020 Program, with Mentees and Mentors announced this July. 

Applications are due by 12PM ET on Tuesday, June, 25, 2019. Click here to learn more and submit your application today!

Association for Latin American Art (ALAA)

ALAA Awards

In addition to the annual book award, ALAA announces two new awards. See the links for details.

ALAA-Arvey Foundation Book Award

ALAA-Arvey Foundation Exhibition Catalogue Award

ALAA Article Prize

International Association of Word and Image Studies (IAWIS)

CFP for the 2020 Conference in Luxembourg:

American Institute for Conservation

Following a successful Annual Meeting in Connecticut, we are looking forward to our 2020 Annual Meeting in Salt Lake City! The theme will be “Conservation – Reactive and Proactive.” The call for papers will open later this summer, please continue to check our site for updated information.

If you are interested in learning more about conservation and supporting the essential work performed by conservators and preservation professionals, become a Friend of Conservation! Friends receive exclusive insights into conservation, including tips on preserving personal collections, and sustain key programs that promote the preservation of all cultural heritage. Learn about the benefits of being a Friend and how you can help save the art and artifacts that keep our memories alive. Support the Foundation for Advancement in Conservation through

International Sculpture Center

Sculpture magazine is thrilled to announce its new website. Go to for reviews, features, news, videos, and other daily content.

Attend workshops, studio tours, and network with artists at the 29th International Sculpture Conference in Portland, OR. Registration opens June 11th at

Society of Architectural Historians

Photo: Geordie Wood, courtesy of DS+R

The Society of Architectural Historians will present the inaugural SAH Change Agent Award to the partners of the New York architecture firm Diller Scofidio + Renfro—Elizabeth Diller, Ricardo Scofidio, Charles Renfro and Benjamin Gilmartin—at a reception at the Century Club in midtown Manhattan on July 17. The award recognizes DS+R for their innovative, paradigm-shifting work, which takes an interdisciplinary approach to design with a focus on cultural and civic projects. Proceeds benefit SAH educational programs and publications, and the ongoing restoration SAH’s landmark headquarters, Charnley-Persky House (1891–1892), designed by Adler and Sullivan with Frank Lloyd Wright.

Nominations for the SAH Publication Awards and the SAH Award for Film and Video are open through July 31. The Publication Awards recognize the most distinguished publications in architectural history, urban history, landscape history, preservation, and architectural exhibition catalogues. The SAH Award for Film and Video was established in 2013 to recognize annually the most distinguished work of film or video on the history of the built environment.

The SAH Board of Directors seeks nominations for the 2020 class of SAH Fellows, those professionally active or retired individuals who have distinguished themselves by a lifetime of significant contributions to the field of architectural history. Deadline August 1.

The SAH Nominating Committee seeks your nominations for five new SAH Board members and a Second Vice President who will begin their terms after the Seattle annual conference in April/May 2020. Deadline August 1.

Graduate students and emerging scholars are invited to apply for the SAH Study Program Fellowship to attend the SAH Field Seminar to Japan, December 6–18. The tour will be led by Ken Tadashi Oshima. The fellowship covers the single occupancy price of the tour and includes a travel stipend. Deadline August 2.


On behalf of the SECAC Nominating Committee, First Vice-President Lawrence Jenkens announced that the 2019 SECAC election results have been finalized. The following members have been elected to the SECAC Board of Directors for a three-year term of appointment. For Arkansas, Dito Morales, Associate Professor of Art History at the University of Central Arkansas, was re-elected to a second term. For Florida, Jeff Schwartz, Dean of Undergraduate Studies and Associate Vice-President of Academic Affairs at Ringling College of Art and Design was elected to his first term. For Mississippi, Elise Smith, Professor of Art History and Sanderson Chair of Arts and Sciences at Millsaps College in Jackson, Mississippi, was elected to her first term. Smith previously served on the SECAC Board of Directors from 2000 to 2006. For Tennessee, Christina Renfer Vogel, Assistant Professor of Painting and Drawing at the University of Tennessee at Chattanooga and 2019 SECAC Conference Co-Director, was elected to her first term. For the First At-large Seat, Dennis Ichiyama, Purdue Univeristy Professor of Graphic Design emeritus, was re-elected to a second term. The SECAC Nominating Committee thanks all members who ran for Board seats this year.

Association of Greek Art Historians (EEIT)

The Association of Greek Art Historians (EEIT) hosted a number of distinguished speakers in the context of its 2019 Lecture Series. The aim of the series is to engage a broader audience and promote the discipline of art history in the wider public sphere in Greece. The topics ranged from global art history to the art of the periphery, addressing theoretical and methodological issues of contemporary relevance. Concurrently, novel interpretations of modernism were proposed from the vantage points of both the center, a eurocentric perspective, and the periphery, the lens of the ‘european other.’ James Elkins, E.C. Chadbourne Professor at the School of the Art Institute of Chicago, talked about the “The End of Diversity in Writing about Art” (January 11, 2019, Benaki Museum, 138 Pireos St., Athens, Greece). Elkins proposed that despite recent interest in global artistic production, writing about art is primarily characterized by a hegemony of western theoretical discourses and related practices. Mark Crinson provided an enhanced reading of modernist architecture through the ideals of internationalism in a lecture entitled “Babel as Modernism” (April 11, 2019, Athens School of Fine Arts, Athens, Greece). Mark Crinson is professor of architectural history at Birbeck, University of London and president of the European Architectural History Network (EAHN). Matthew Rampley shared initial thoughts and material related to the European Research Grant project Continuity / Rupture: Art and Architecture in Central Europe 1918-1939 that he is currently leading from Masaryk University in Brno in the Czech Republic. The lecture was entitled “A Legacy of Empire? Art and Architecture in Central Europe after 1918” and examined how ‘modernist’ art was deployed in Central Europe to create and enforce national identities at the aftermath of the collapse of the Habsburg Empire after the First World War. (May 17, 2019, National Hellenic Research Foundation, Athens, Greece).

Design Incubation

Calls for Participation: Design Incubation Upcoming Events

Call for Entries: 2019 Communication Design Educators Awards

An international juried competition of communication design research, practice, teaching, and service. Expand the design record, promote excellence, and share knowledge in the discipline. Submit your creative work, published research, teaching, and service. Nominations are accepted until July 31, 2019. Entries are currently being accepted until August 31, 2019.

Visit the 2019 Design Incubation Communication Design Educators Awards announcement to read about our distinguished jurors.

Colloquium 6.1: Quinnipiac University, Call for Submissions

Call for design research presentation abstracts. Deadline: Saturday, July 6, 2019. Hosted by Courtney Marchese and the School of Communications.

School of Communications
Quinnipiac University
Sat, October 5, 2019
10:00 AM – 5:30 PM

A Day of Writing

Come spend an uninterrupted day working on a writing project. Participants will spend the day writing or conducting preliminary work on a writing project. The Day of Writing is open to design faculty and to those working in related fields.

Quinnipiac University
October 6th 2019
10:00am –4:00pm

The Design Incubation Residency at Haddon Avenue Writing Institute 2019

Rolling acceptances until Sept 30, 2019. Only 14 seats are available for this event. This 3-day residency allows researchers and scholars time to work on existing writing projects or to start a new writing project. It offers participants concentrated time to work on writing projects and the opportunity to take advantage of one-on-one consultations with event facilitator Maggie Taft.

Haddon Avenue Writing Institute
2009 W. Haddon Ave, Chicago Illinois
October 25-27, 2019

Visual Resources Association

Approximately 200 information professionals gathered in LA’s Little Tokyo for the VRA conference from March 26-29, 2019: Many conference presentations have been uploaded to SlideShare at and photographs from the events can be found at The VRA’s journal of professional practice is expecting articles based on conference presentations to be in the June issue of the VRA Bulletin, which is now an open access online journal, see:

Visual Resources Association (VRA) is a multidisciplinary organization dedicated to furthering research and education in the field of image management within the educational, cultural heritage, and commercial environments. For more information on VRA:

Call for Proposals

The Visual Resources Association’s 2020 Annual Conference will be held in Baltimore, Maryland from Tuesday, March 24th through Friday, March 27th, 2020 at the Royal Sonesta Harbor Court Baltimore.

Presenting at the VRA Conference provides you with the opportunity to see how your ideas, research, work, and passion connect to those of other dedicated professionals while building networks and friendships in an open, collaborative environment.

Click here to access the conference proposal form.

The VRA Executive Board is soliciting proposals for papers, sessions, special interest/user groups, and workshops for the 2020 program until Friday, July 19th. All proposals are welcome, and if you have other conference ideas or suggestions that do not fit the conference proposal form, please reach out to the Vice President for Conference Program, Sara Schumacher. Please note a call for Lightning Round presenters will go out in the fall/winter, so that we can better accommodate recent innovations and activities, as well as, students and emerging professionals.

A paper is an individual idea submission, which will be reviewed for possible grouping into a session. Your ideas, whether they come to us alone or in a group, are equally valued in the Board’s proposal and selection process.

  • A session is a maximum 60-minute moderated panel, usually consisting of no more than 3 presenters each, speaking for 15 to 18 minutes, followed by a brief facilitated question and answer period. If you feel your session topic requires more time, consider dividing it into two sessions, consisting of a Part I and a Part II.
  • A special interest/user group is a 60-minute informal, community -driven, facilitated group discussion on topics related to a specific segment of the VRA membership.
  • A workshop is a 2, 4, or 8-hour workshop to develop skills and experience in the field of visual resources with hands-on activities.

What should you propose?

Past conference schedules can give you an idea of the range of topics presented in previous years or read through the list below of suggested topics compiled from the 2019 post-conference survey responses to find inspiration. Please, do not be afraid to deviate and propose something new or highlight an area of concern that you feel has not been adequately addressed previously, as you may find new collaborators and colleagues. Moderators may put out calls for presenters within a proposed topic before or after the submission of a proposal. The VRA Executive Board will be looking for articulate and concise submissions with lists of presenters, but submissions without presenter lists are encouraged as well.

Suggested topics:

  • Coding (PHP, Python, SQL, etc.)
  • Community Outreach
  • Copyright/Intellectual Property
  • Digital Asset Management, Digital Curation, Digital Preservation, etc.
  • Digitization (Workflows, Digital Capture and Imaging Technologies)
  • Digital Scholarship and Digital Humanities
  • Diversity, Equity, Inclusion, Cultural Competencies, Social Justice
  • Project Management (Communication, Grant writing, Prioritization, Leadership, etc.)
  • Linked Data
  • Materials/Objects collections
  • Metadata/Cataloging Ethics (Decolonizing vocabularies, Radical cataloging)
  • Storytelling and Oral History
  • Technologies (GIS and mapping, 3D imaging, etc.)
  • Tools: Open Source, Evolution, Future Trends
  • Workplace cultures and professional transitions (academic departments, libraries, cultural heritage institutions, archives, corporate, etc.)

Please contact the Vice President for Conference Program, Sara Schumacher at with any questions or concerns.

Again, the proposal deadline is Friday, July 19th, 2019.  Click here to access the conference proposal form.

Association for Textual Scholarship (ATSAH)

Members’ Publications and Events May 2019


Bosch, Lynette M.F. Demi. Skira Publishers, 2019.

Bosch, Lynette M.F. ” The Cuban-American Exile Vanguardia: Towards a Theory of Collecting Cuban-American Art, ” Picturing Cuba: Art, Culture and Identity on the Island and the Diaspora. University of Florida Press, 2019.

Bosch, Lynette M.F “Before 1962: Mannerism and Historiography,” Renaissance Society of America Annual Conference, Toronto, Canada (2019).

Bosch, Lynette M.F. Curator, SUNY Geneseo, “Cuban-American Art and Cultural Identity,” April 3-May 4, 2019

Bosch, Lynette M.F. Curator, Binghmaton University, “Visions and Imagination: Cuban-American and Argentinian Art,” January 31-March 14, 2019.

Carrara, Eliana “Vasari e Ammannati nel Cantiere della Villa Medicea di Castello: Due Disegni del Metropolitan Museum of Art in New York,” in Opus Incertum (2018) pp. 44-53 | ISSN 2239-5660 (print) ISSN 2035-9217 (online)
; DOI: 10.13128/opus-23045, pp. 44-53.

Cheney, Liana De Girolami, ““Edward Burne-Jones’s The Mirror of Venus: Physical and Intangible Female Beauty,” Journal of Literature and Art Studies, Vol. 19, No. 1 (January 2019):98-122.

Cheney, Liana De Girolami, “An Alchemical Heaven: The Studiolo Ceiling of Francesco I de’ Medici,” in Esotericism in Europe, ed. Lilian Zirpolo. Ramsey, NJ: Zephyrus Scholarly Publications, 2019, pp. 21-52.

Cheney, Liana De Girolami, “Giorgio Vasari’s Celestial Utopia of Whimsy and Joy: Constellations, Zodiac Signs and Grotesques,” Journal of Cultural and Religious Studies, Vol. 7, No. 1 (January 2019):1-31.Levin, William R. (Centre College, emeritus) has published online the entry for Jacobs Hall, the mid-19th-century

Italianate centerpiece of the Kentucky School for the Deaf in Danville, Kentucky, in the Society of Architectural Historians’ SAH Archipedia Classic Buildings (  This ongoing national project, issued by the University of Virginia Press, provides detailed information on and photographs of the 100 most important structures in each state in an attractive and easy-to-use format equipped with abundant cross-referencing tools.  An illustrated booklet by the author, published in 2014, contains expanded historical and architectural information on Jacobs Hall.

Levin, William R.   “Jacobs Hall, Danville, Kentucky.”  In SAH Archipedia Classic Buildings.  Charlottesville:  University of Virginia Press for the Society of Architectural Historians, Chicago, 2017.

Levin, William R. “The Bigallo Triptych:  A Document of Confraternal Charity in Fourteenth-Century Florence.”  Confraternitas 29, no. 1 (Spring 2018): 55-101.

Levin, William R.  “Art as Confraternal Documentation:  Homeless Children and the Florentine Misericordia in the Trecento.”  In A Companion to Medieval and Early Modern Confraternities, edited by Konrad Eisenbichler, 433-457.  Brill’s Companions to the Christian Tradition, vol. 83.  Leiden, The Netherlands:  Koninklijke Brill NV, 2019.

Passignat, É. Traductions, transferts méthodologiques et construction d’une histoire de l’art internationale: quelques cas français et italiens, in « Dire presque la même chose ». L’histoire de l’art et ses traductions (XIXe-XXIe siècles), eds. Adriana Sotropa and Myriam Metayer, Rennes, PUR, 2019: 121-138.

Passignat, É. La sculpture encadrée. Observations sur l’encadrement dans les ensembles sculptés italiens du XVIe siècle, in Jeux et enjeux du cadre dans les systèmes décoratifs à l’époque moderne, edited by Nicolas Cordon et alii, Rennes, PUR (June 2019).

Passignat, É. Book review of: Elisabetta Calderoni, Raccontare gli Antichi. Le Imagini di Vincenzo Cartari [premessa di B. Basile, Ariccia, Aracne editrice, 2017] Giornale storico della letteratura italiana (CXCVI, anno 2019, Fasc. 654 – 2° trimestre).

Passignat, É. Giorgio Vasari, Vita di Pierino da Vinci, scultore, commented by É. Passignat, in G. Vasari,  Le vite de’ più eccellenti pittori, scultori e architettori, critical edition by Enrico Mattioda, Alessandria, Edizioni dell’Orso, Volume 4, forthcoming [Fall 2019].

Passignat, É., Giorgio Vasari, Vita di Cristofano Gherardi, detto Doceno, dal Borgo San Sepolcro, pittore, commented by É. Passignat, in G. Vasari, Le vite de’ più eccellenti pittori, scultori e architettori, critical edition directed by Enrico Mattioda, Alessandria, Edizioni dell’Orso, Volume 4, [Fall 2019].

Ricci, Patricia Likos, Professor of the History of Art and Director of the Fine Arts Department at Elizabethtown College presented the paper “On the Englishness of the American Renaissance” at Society of Architectural Historians 72nd International Conference, Providence, Rhode Island, in 2019.

Ricci, Patricia Likos published “The Inquiring Eye: Scientific Illustration and the Production of Knowledge,” a chapter in A Companion to Illustration (Blackwell, 2019).

Awards and Recognition

ATSAH Scholar Committee Awarded to Dr. Damiano Acciarino of the Università di Ca’Foscari Venezia and University of Toronto, Canada, the 2019 ATSAH Scholar Grant for outstanding research on Renaissance antiquarianism published in Lettere sulle Grottesche (Rome: Aracne, 2018).

Liana De Girolami Cheney was awarded the Albert Nelson Marquis Lifetime Achievement Award.

Additional Board to ATSAH

ATSAH announces a new Editorial Board

Damiano Acciarino, Università Ca’ Foscari Venezia

Pino Cascione, Università di Ado Moro, Bari, Italy

Karen Goodchild, Wofford College

Brian Steele, Texas Tech University

Katherine Powers, Fullerton University

Emilie Passignat, Independent Scholar, Florence

Lynette M.F. Bosch, State University of New York-Geneseo

Charles Burroughs, State University of New York-Geneseo

Andrzej Piotrowski, University of Minnesota

Yael Even, University of Missouri, St. Louis

In Memoriam

Sarah Jordan Lippert (1975-2019), Associate Professor of Art History at the University of Michigan-Flint, Director of the Society for Paragone Studies, Editor-in-Chief of its journal Paragone: Past and Present passed away on April 24, 2019. She was the author of numerous books and articles including the newly published The Paragone in Nineteenth-Century Art (Routledge 2019), along with Going Back to the Beginning of Things: The Ancient Origins of the Arts of France (Taylor and Francis, UK 2018), and The Temporality of Imitation in the Works of Moreau and Gérome (Tauris, UK, 2017):

Filed under: Affiliated Societies

News from the Art and Academic Worlds

posted by CAA — Jun 05, 2019

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Portion of Mary Sully’s The Indian Church (1938-45), on view in Hearts of Our People: Native Women Artists at the Minneapolis Institute of Art. Collection of Philip J. Deloria.

Native American Women Artists Finally Get Their Due in New Minneapolis Exhibition

Women made ninety percent of the Native American art you see in museums, but you might never know it. (The Art Newspaper)

MFA Bans Two Patrons After Students Of Color Say They Were Subjected To Racist Comments

The incident has sparked a wider conversation about how encyclopedic museums—rooted in European colonialism—can transform into institutions that reflect communities outside their walls. (WBUR)

Related: Racism At The MFA Doesn’t Shock Me. I Grew Up In Boston

Universities Try to Catch up to Their Growing Latinx Populations

Like many US colleges, Indiana University Northwest is seeing a sharp rise in Latinx students—but support for them is lagging. (The Hechinger Report)

Two Transgender Activists Are Getting a Monument in New York

Part of New York City’s effort “to fix a glaring gender gap in public art,” a monument honoring Marsha P. Johnson and Sylvia Rivera will be erected in Greenwich Village. (New York Times)

Four Years of College, $0 in Debt: How Some Countries Make Higher Education Affordable

Read responses from around the globe. (New York Times)

‘There Were Women Working Then, Too’: How Dia Director Jessica Morgan Is Breaking Open the (Male) Canon of Postwar Art

An interview with director Jessica Morgan on her vision for the Dia Art Foundation’s future. (artnet News)

Filed under: CAA News