CAA News Today

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.

Art Libraries Society of North America (ARLIS/NA)

ARLIS/NA will be holding its 2021 Annual Conference in Montréal, Québec, Canada from May 9 through May 15 at the Hotel Bonaventure, Montreal. For update information please see https://www.arlisna.org/news/conferences/1405-2021-49th-annual-conference.  

On June 8, 2020 ARLIS/NA issued its Statement Against Anti-Black Racism and Violence which can be accessed here: https://www.arlisna.org/news/news-events/2057-arlis-na-advocacy-statement-against-anti-black-racism-and-violence 

Nominations are open for the following Executive Board positions: Vice President/President Elect, Secretary, Advancement Liaison, and Chapters Liaison; nominations must be received by July 13, 2020 for terms beginning at the Montreal Conference in May 2021. For more information please see the official announcement here: https://www.arlisna.org/news/news-events/2056-call-for-interest-nominations-for-2021-executive-board 

BSA (Bibliographical Society of America)

1. Applications due September 8 for BSA’s 2021 New Scholars Program: The Bibliographical Society of America’s New Scholars Program seeks to promote the work of scholars who are new to the field of bibliography, broadly defined. The New Scholars selection committee welcomes new methods and new approaches, including applications from candidates applying bibliographical theory and principles to diverse materials and media. In addition, the committee welcomes scholarly submissions that embrace diverse, multicultural perspectives. The committee particularly encourages applications from those who have not previously published, lectured, or taught on bibliographical subjects.International applicants are welcome to apply. New: Joint applications will be accepted in 2021. For more information, see https://bibsocamer.org/awards/new-scholars-program/. 
2. Applications due November 1 for BSA Fellowships: To foster the study of books and other textual artifacts in traditional and emerging formats, and in keeping with the value which the Society places on the field of bibliography as a critical interpretive framework for understanding such artifacts, the BSA funds a number of fellowships designed to promote bibliographical inquiry and research. For more information see https://bibsocamer.org/awards/fellowships/.
3. Community Subtitling Project: The BSA records many events to offer free, virtual programming to a broader public. These videos are accessible through the BSA’s YouTube channel. To improve accessibility, as of Spring 2020 we are working to provide edited English and other language subtitles, with a focus on Spanish. We need English speakers to edit automated transcriptions, and speakers of other languages to translate them in YouTube. We are pleased to offer free one year memberships to all who submit complete translations of edited English transcripts of individual videos. We created a guide to editing English subtitles and to adding foreign language translations that you can view on our website, here.  

La guía también está disponible en español, aquí. 

4. June 2020 (vol 114:2) issue, The Papers of the Bibliographical Society of America:

Articles 

Sonia Hazard, “The American Tract Society and the Refinement of the Evangelical Book, 1825–1861”
David Atkinson, “Distribution of Street Literature in the Later Eighteenth Century: Some Imprint Evidence from the West of England”
MacDonald P. Jackson, “Two Variants in Poems by Keats: Textual and Literary Evidence” 

Book Reviews
Jung, Sandro. The Publishing and Marketing of Illustrated Literature in Scotland, 1760–1825
Reviewed by Kristin Bluemel
Stephens, Walter, and Earle A. Havens, eds. Literary Forgeries in Early Modern Europe 1450–1800
Reviewed by Linda Isaac
Duncan, Sara Jeanette. A Social Departure: How Orthodocia and I Went Round the World by Ourselves. Ed. Linda Quirk, with Cheryl Cundell
Reviewed by Kathryn James
Lallier, Monique. Monique Lallier: A Retrospective
Reviewed by Kevin M. O’Sullivan 

Association for Modern and Contemporary Art of the Arab World, Iran, and Turkey

CFP: Modern Art in the Arabian Peninsula: A collection of essays to be published in collaboration with Barjeel Art 

Foundation and the Association for Modern and Contemporary Art of the Arab World, Iran, and Turkey (AMCA) 

Over the last two decades, the Arabian Peninsula has been the subject of critical attention regarding the rapid development of art initiatives and institutions, notably blockbuster transnational partnerships and attendant labor inequities. Less attention, however, has been given to the longer history of modern art in the region and the Peninsula’s artistic practices in comparative perspective. This publication brings together scholarly voices from across disciplines to consider the various movements, schools, collectives, manifestos, and debates that emerged in the countries of the Arabian Peninsula: Bahrain, Kuwait, Oman, Qatar, Saudi Arabia, United Arab Emirates, and Yemen throughout the 20th century. Contributions might address the following subjects: artists’ monographs, aesthetic debates in the press, artists’ collectives, exhibition histories, role of public sculpture, and the contextualization of art movements within regional histories. Themes may also consider the international scope of exhibitions and events that have molded the Arabian Peninsula into a global art capital. This call for essays welcomes scholarly explorations centered on the exchange of art and ideas between Gulf countries and their neighbors (e.g, Iran, South Asia, East Africa, and other Arab States) and how those dialogues have informed modern art in the Arabian Peninsula. We encourage submissions that consider the ways in which studies of modern art in the Arabian Peninsula might challenge conventional regional studies of modern Arab art or serve as a catalyst for broader disciplinary concerns with decolonizing art history.  

We welcome abstracts for proposals addressing but not limited to the topics listed. Please submit a 500-word abstract along with a brief, one-page CV by September 15, 2020. Up to three accompanying images may be included in the body of the word document (optional). Abstracts should be submitted in MS office format (any recent version). Proposals in both English and Arabic will be accepted. Send your abstract to: MAAP@barjeel.com  

The book will be edited by Nada Shabout, Sarah Rogers and Suheyla Takesh. Accepted contributions due on June 1, 2021. All essays will undergo a double-blind, peer-review process before final acceptance. Papers will be accepted in either English or Arabic and may include up to 7 images.  

Association of Art Museum Curators Foundation

2020 Mentorship Program Applications Open June 30 

Due July 14 at 12PM ET 

Up to 10 Mentees with a required minimum of at least 3-5 years of curatorial experience in the field will be selected through a competitive application process for a career advancement experience.  The program’s goal is to advance the skills, experience and knowledge needed to succeed in a curatorial career. 

The program incorporates three main pillars: 

• An immersive Virtual Learning Residency creating a peer to peer cohort held online; 
• Digital engagement with a Mentor establishing one on one connections for feedback and guidance; and 
• Attendance at the 2021 Art Curators Conference furthering expansion of the Mentee’s network (pending confirmation in early 2021 due to COVID-19). 

Past program participants and additional program details and benefits are outlined in detail here. 

All applicants must: 

• Be art curators at nonprofit organizations in any country around the globe, with direct responsibility for works of art. In addition, independent curators and others that work a minimum of 50% of the time for/with nonprofit organizations will be considered. 
• Have a minimum of 3-5 years of direct working curatorial experience in the field, excluding internships. 
• Commit to all program requirements at the time of application, including all deadlines (non-negotiable), timelines, and travel. All Mentees are provided funding to accommodate travel, which will be disbursed in early 2021. 

CLICK HERE TO APPLY 

Applications open June 30 and are due by noon ET on July 14. 

Questions/Concerns? Email programs@artcurators.org. 

This program is made possible through the generosity of Barbara Futter, Catherine Futter, and the Emily Hall Tremaine Foundation. 

Society for the History of Collecting 

The Society for the History of Collecting is pleased to announce a series of lectures that will take place online via Zoom. The inaugural lecture will be delivered by Charles Sebag Montefiore on Jewish British Art Collectors. It will take place on Thursday, July 2 at 1:30pm (EDT) (see below for further details). 

Stacey Pierson of the School of Oriental and African Studies, University of London, will deliver a lecture Art in China/Chinese art in Europe: a comparative study of approaches to collecting in China and Europe, 1500-1900 the following week (Thursday, July 9 at 1:30pm (EDT)) 

This illustrated lecture will explore almost 250 years of Jewish collecting in Britain, from the opening of Bevis Marks Synagogue in 1701 to the start of World War II. It will explore the role of prominent individuals, such as Sampson Gideon, Ralph Bernal, Ludwig Mond, the Rothschilds, Sir Philip Sassoon and Sir Percival David. The talk will cover a wide range of works of art from Old Master paintings and drawings to Classical sculpture and bronzes, as well as silver, Delftware, Hebraica and oriental ceramics. It will conclude by seeking to answer whether or not differences of religious background have any bearing on the way that people collected. 

Charles Sebag-Montefiore is a Trustee of the National Gallery. He has served for many years as Treasurer of the Friends of the National Libraries, the National Manuscripts Conservation Trust and The Walpole Society, and is a former trustee of the Samuel Courtauld Trust and the Art Fund. He is joint author of The British as Art Collectors: From the Tudors to the Present (2012) and of A Dynasty of Dealers: John Smith and Successors 1801-1924 (2013). 

To Join the lecture Please follow the zoom instructions below 

Join Zoom Meeting
https://us02web.zoom.us/j/86005302560?pwd=Ylp6eitSN3RJbFpLMXlrZWp4WGdZdz09
Meeting ID: 860 0530 2560
Password: 774341 

Renaissance Society of America

RSA 2021 Dublin 

The Renaissance Society of America warmly invites submissions for its 67th Annual Meeting, to be held in Dublin, Ireland on 7-10 April 2021. The Convention Centre Dublin will serve as the site of our conference headquarters, with sessions also held at premier cultural and scholarly institutions such as the Chester Beatty , Marsh’s Library , and the Royal Irish Academy . We are delighted to announce that the Dublin conference has been expanded to four days instead of three, to accommodate more presenters and allow plenty of time for special events and visits to the city’s museums and archives. Submissions are due 15 August 2020. For more information about RSA 2021 Dublin and details on how to submit CfPs and sessions for the conference, please click here. 

New Media Caucus

In response to worldwide protests mobilizing for Black Lives, the New Media Caucus, in collaboration with the Queer Caucus for Art, has created a sale of Digital Artifacts. 100% of all sales go to the Movement for Black Lives. Please visit https://www.defunddefend.newmediacaucus.org/ 

The New Media Caucus recently launched the Header/Footer Gallery, a digital exhibition space curated by NMC members. Flesh Spaces, opening in July, examines the challenges that cyberfeminists in the 1990s posed against a male-dominant technoculture. Via Net.art, installations and DIY publications, these artists interjected their bodies into cyberspace to celebrate physical presence, gender, and sexuality, challenging the dominate notion of cyber as disembodied and transcendent. However, despite the group’s efforts for coalition, cyberfeminism remained predominantly white and cisgender. 30 years later, H/F Gallery’s exhibition, curated by Constanza Salazar, champions work by WOC and members of the LGBTQ+ community – work that interrogates recent issues surrounding online spaces and digital technologies. https://www.newmediacaucus.org/hfgallery/#content 

NMC continues to feature member spotlight on our website including a recent interview with Shawné Michaelain Holloway. A new media artist and poet, Holloway creates critical software, video installations, and real-time performances to initiate conversations about power and control. Her work re-shapes the rhetorics of technology and sexuality by critically engaging the technical language of instruction, specifically from queer feminist BDSM communities, to direct viewers to read, play, or listen their way through narratives that guide them in and out of visceral memories. Her work leverages both tech and poetic mechanisms to navigate through and/or away from abuses of power. This choreography of viewership is constructed through a decidedly black, queer, feminist discipline, forefronting agency and consent within the experience. Read KT Duffy’s interview with Holloway: https://www.newmediacaucus.org/member-spotlight-shawne-michaelain-holloway/ 

NMC’s journal Media-N is seeking proposals for a special issue – No Template: Art and the Technicity of Race. Updated deadline for abstracts: July 31, 2020. A decade ago, Beth Coleman and Wendy Hui Kyong Chun introduced the concept of race and/as technology.* Turning to Heidegger’s notion of techne as prosthesis or skill, Coleman and Chun imagine race itself as a technology that can be leveraged, a tool for navigating systems of power. This distances race from its mythological status as biological fact, creating a critical framework that returns historical agency to the individual and helps us understand how race and ethnicity function in the visual–and technological–world. Recently, the concept has received renewed attention as the intersections between race and ethnicity and the technological have come to the fore in popular discourse, raised by issues ranging from representation in film to bias in facial recognition. Critical work by scholars such as Simone Browne and Lisa Nakamura and the Precarity Lab has also continued to interrogate the technicity of race and its relationship to other technologies, both historical and contemporary. Artistic research and practice on the subject, however, has often been either neglected or instrumentalized as illustrative of a larger debate. This special issue of Media-N responds to the urgent need to examine the state of dialogue on race and/as technology in art practice, history, and criticism. It will feature a ten years on reflection on the concept by Beth Coleman, opening discussion onto the way this framework has shaped, and has been shaped by, art of the past and present. The guest editor for this issue is Megan Driscoll. For more information and guidelines: https://www.newmediacaucus.org/media-n-cfp-no-template-art-and-the-technicity-of-race/ 

*See Beth Coleman, “Race as Technology,” Camera Obscura: Feminism, Culture, and Media Studies 24, no. 1 (70) (May 1, 2009): 176-207; and Wendy Hui Kyong Chun, “Race and/as Technology, or How to Do Things to Race,” in Race After the Internet, eds. Lisa Nakamura, Peter Chow-White, and Alondra Nelson (New York: Routledge, 2012), 38-60. 

NCHA

The NCHA announces that the quadrennial CIHA congress scheduled this year for Sao Paulo, Brazil, has been postponed one year until August 2021. We hope to see many of our CAA colleagues there! In addition, NCHA has elected new officers who begin their terms July 1, 2020: Paul Jaskot (President-Elect, beginning his term officially at the August 2021 CIHA), Anne Collins Goodyear (Vice President), Jesús Escobar (Treasurer), and Suzanne Blier (Secretary). Finally, NCHA is pleased to inform CAA members that the last CIHA colloquium, organized by the Japanese committee at the National Museum of Tokyo (March 2019, has published its papers which are available for download. The title of the conference was Toward the Future: Museums and Art History in East Asia. We are grateful to the Otsuka Museum of Art’s for making the publication available for free download on its Home Page at the following address : 

http://srv0001.heteml.net/is/museums/ . 

Design Incubation

CFP: the 2020 Design Incubation Communication Design Awards 

Call for Nominations and Entries for the 2020 Design Incubation Communication Design Awards for Educators and Graduate Students 

2020 Jury 

• Gail Anderson, School of Visual Arts, United States 
• Audrey G. Bennett (Chair), University of Michigan, United States 
• Fatima Cassim, University of Pretoria, South Africa 
• Denise Gonzales Crisp, North Carolina State University, United States 
• Paul Nini, Ohio State University, United States 
• Maria Rogal, University of Florida, United States 
• Teal Triggs, Royal College of Art, United Kingdom 

Design Incubation announces a call for nominations and entries for the 2020 awards for communication design educators and graduate students in the areas of scholarship, teaching, service. The aim of the awards program is to discover and recognize new scholarship (creative work and publications), teaching, and service in our broad and varied discipline. We hope to expand the design record, promote excellence and share knowledge within the field. 

This year, the jury also will be considering commendations for work covering the area of diversity, equity, access, and inclusion in communication design. We encourage submissions of work that relate to these areas for consideration. 

Nominations 

We kindly ask colleagues and mentors to identify outstanding creative work, publications, teaching, and service being done by design educators and graduate students in our field and to nominate these individuals for an award. Nominations will be accepted from April 15 to July 31, 2020. 

Entry Guidelines 

Entries will be accepted from June 1–August 31, 2020. Complete the online entry form with the following: 

• Title: Description of project and outcomes (not to exceed 500 words) 
• Supporting Materials (limited to 5-page medium resolution pdf of artwork; web links to websites, videos, other online resources; published documents or visual documents) 
• Bio of applicant/s (150 words per applicant) 
• Curriculum vitae of applicant/s 

New Initiative for the 2020 Design Incubation Awards: Graduate Student Work 

Beginning this year, Design Incubation is accepting entries in a new juried area of Graduate Student Work. The future of communication design education begins with the work of future faculty and researchers in the field of Communication Design. Recognition of graduate student work will be grouped and reviewed in the categories of scholarship, creative projects, and service. Graduate students currently enrolled in graduate design programs are invited to submit scholarship, creative projects, and service projects they completed during graduate study or up to one year after graduation.

ICMA

The International Center of Medieval Art (ICMA) has been awarded a grant from the NEH CARES: Cultural Organizations funding program. These NEH grants were distributed as part of the Coronavirus Aid, Relief, and Economic Security (CARES) Act, and roughly 14% of applicants were funded. A press release offers full information. The ICMA will use the award to support a Coordinator for Digital Engagement who will develop and oversee online offerings that serve the needs of scholars, instructors, museum professionals, and other enthusiasts and specialists in medieval art history at a time when we cannot gather in person. 

Due 31 August 2020: ICMA-Kress Exhibition Development Grant (https://www.medievalart.org/exhibition-grant) and the ICMA-Kress Research and Publication Grant (https://www.medievalart.org/kress-research-grant). 

Visual Resources Association News 

The VRA invites proposals for papers, sessions, special interest/user groups, and workshops for the 2021 Conference program. The VRA’s 2021 Annual Conference will be held in Chicago, IL, from Tuesday, March 23th through Friday, March 26th, 2021 at the Westin, Michigan Avenue. Hybrid (in-person and online) conference options are being explored, so please consider ways to present materials to both physical and virtual audiences.  

Presenting at the VRA Conference provides opportunities 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.  

Presentation Types: 

• Individual Paper- 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. 
• Session – A session is typically a 60-minute moderated panel with 3 presenters, 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. 
• SIG/SUG- 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. 
• Workshop- 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. 

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 at vpcp@vraweb.org.  

To Apply: 

The deadline for submissions is Monday, July 27, 2020. Program submissions received after this date will not be considered for the 2021 conference. 

Preview the Paper, Sessions, Special Interest/User Groups Submission Form. Preview the Workshop Submission Form. 

Submit your proposal here: https://www.surveymonkey.com/r/cfpvra2021. 

All speakers/presenters must register for the conference and may register under the Conference Speaker rate for the full conference (same as member rate) or under the one-day rate. Speakers/Presenters may apply for Travel Awards through the VRA Travel Awards Committee or through select VRA Chapters. 

Suggested topics: 

• Challenges and Lessons Learned from Remote Work 

• The Workplace, Institutional Transitions, Personnel Issues 
• Copyright & IP in Education and Beyond 
• Teaching & Research Needs, Visual Literacy 
• Equity, Ethics, Privacy, Advocacy 
• Metadata 

• Best Practices and Standards (VRA Core 4, CCO, etc.) 
• Critical Cataloging, Alt-Text, Rights Statements, Geolocation Data 
• Crowdsourcing 
• Managing Collections 

• Digital Asset Management, Digital and Institutional Repositories 
• Preservation, Planning for Collections Growth 
• Outreach and Instruction 

• Instruction using Materials, Special, and Digital Visual Collections 
• Accessibility, Universal Design, Open Educational Resources, Online Exhibitions, Social Media  
• Emerging Technologies and Applications 

• 3D Photography Imaging and Digitization, Audio and Video Editing 
• Coding, GIS, IIF, Omeka S, Story Maps 
• Digital Humanities/Scholarship Tools, Projects, Research Processes 

The Visual Resources Association is a multidisciplinary organization, founded in 1982, dedicated to furthering research and education in the field of image management within the educational, cultural heritage, and commercial environments. Since its foundation and even earlier, VRA has been affiliated with or had committee ties to 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. 

SECAC

SECAC 2020. Following a survey of members and a subsequent affirmative vote of the full Board, SECAC 2020 will be moving online, hosted by Virginia Commonwealth University with Carly Phinizy, Assistant Chair and Assistant Professor of Art History, as Conference Director. To volunteer to assist in this endeavor and to thank the VCU team for the immense work that they have done so far – and that lies ahead – in order to sustain professional development opportunities for so many members this year, Carly can be reached at secac2020@vcu.edu.   

Equity and Inclusion. The recent killings of countless unarmed Black people have brought renewed attention to systemic racial inequity in the United States. With support from the Executive Committee, members of the Board are conducting a review of SECAC practices from the perspective of racial justice, equity, and inclusion. The intent is to gain an empirical view of SECAC’s record as a baseline for identifying areas for improvement and an action plan, which will be developed collaboratively with our members. As a preliminary step, SECAC will waive institutional membership dues for HBCUs. 

SECAC Member Opportunities Deadline: August 31, 2020 

• Submission for the William R. Levin Awards for Research in the History of Art (minimum amount of $5000 each). https://secacart.org/page/LevinAwards 
• Submission for the SECAC Artist’s Fellowship ($5000) and Artist’s Fellowship Honorable Mention ($1000). https://secacart.org/page/ArtistsFellowship 
• Nominations for the SECAC Awards. https://secacart.org/page/Awards 

• Outstanding Artistic Achievement 
• Outstanding Professional Achievement in Graphic Design 
• Outstanding Exhibition and Catalogue of Contemporary Materials 
• Outstanding Exhibition and Catalogue of Historical Materials 
• Excellence in Teaching 
• Excellence in Scholarly Research and Publication 
• Nominations for SECAC Board seats in Georgia, Virginia, South Carolina, West Virginia, and At-Large #2. Submit nominations, with nominee’s CV, to lawrence.jenken@umassd.edu. 

Please consider nominating colleagues and peers for SECAC Awards and Board Seats, particularly those individuals who have been underrepresented historically. 

Association of Print Scholars

The Association of Print Scholars (APS) has awarded the 2020 Schulman and Bullard Article Prize to Dr. Elizabeth Savage, Senior Lecturer in Book History and Communications, Institute of English Studies, School of Advanced Study, University of London. Now in its sixth year, the award is given to an article published by an early-career scholar that features compelling and innovative research on prints or printmaking. Dr. Savage’s article, “Identifying Hans Baldung Grien’s Colour Printer, c. 1511-12” was published in Burlington Magazine, Volume 161 (October 2019): 830-839.  

Additionally, Honorable Mentions have been awarded to Tomasz Grusiecki, Assistant Professor of Art History, Department of Art, Design & Visual Studies, Boise State University, and Erin Sullivan Maynes, Assistant Curator, Rifkind Center for German Expressionist Studies, Los Angeles County Museum of Art, for their articles, “Michal Boym, the Sum Xu, and the Reappearing Image” in Journal of Early Modern History, Volume 23, issue 2-3 (May 2019): 296-324 and “Making Money: Notgelt and the Material Experience of Inflation in Weimar Germany” in Art History, volume 42, number 4 (September 2019): 678-701, respectively. APS is now accepting submissions until January 31, 2021 for the 2021 Schulman and Bullard Article Prize, which carries a $2,000 prize and is generously sponsored by Susan Schulman and Carolyn Bullard, both private print dealers. Further submission information can be found on the APS website.  

The Association of Print Scholars is pleased to announce that it has been awarded a major grant in the amount of $120,000 from the Getty Foundation to fund a series of two hands-on intensive printmaking workshops for emerging scholars and curators in the field. The grant is funded through The Paper Project, an initiative focused on training and professional development for early- to mid-career curators of prints and drawings. This grant will go toward two intensive four- and five-day long workshops in 2021 and 2022, respectively, that will invite participants to learn about a specific technical area from talented printmakers, master printers, and curators from around the country. The first workshop is dedicated to intaglio techniques (etching, engraving, and drypoint) and will be hosted at the esteemed Highpoint Center for Printmaking and the Minneapolis Institute of Art in Minneapolis, Minnesota from June 21-26, 2021. The second workshop, dedicated to lithography and monotype, will be hosted at the renowned Tamarind Institute and the University of New Mexico Art Museum in Albuquerque, and 10 Grand Press in Santa Fe, New Mexico in May 2022. A formal call for applications for the first workshop will be sent out in Fall 2020. 

Women’s Caucus for Art

Board members of the Women’s Caucus for Art gathered in early June via videoconference. Their work included welcoming Laura Morrison as incoming President of the WCA. Past President Margo Hobbs is now in the process of forming an Art Writers Committee as part of the WCA. Anyone interested in joining should contact Margo at margohobbs@muhlenberg.edu. 

Association for Latin American Art (ALAA)

ALAA COVID Relief Fund 

The Association for Latin American Art (ALAA) is pleased to announce that over the course of this summer we will be launching an emergency relief grant program in support of our colleagues who are suffering financial hardships as a result of the COVID-19 crisis. There is no doubt that the current public health crisis has rippled and negatively impacted those of us working in museums and higher education. Many of our colleagues are facing furloughs, non-renewed/terminated contracts, decreased pay, or the dire consequences of hiring freezes. 

ALAA plans to offer micro-grants of up to $500 to contingent professionals, graduate students, and independent scholars of Latin American and/or Latinx art who are most vulnerable to economic precarity. 

Given our organization’s very modest budget, we will need to finance this program through voluntary donations. For more information please visit our website: https://associationlatinamericanart.org/alaa-covid-19-relief-fund/. Also, you can direct any inquiries to our Secretary-Treasurer, Lesley Wolff at Lesley.Wolff@ttu.edu 

IAWIS

The next IAWIS conference in Luxembourg, due to take place in early July has been postponed due to the corona virus pandemic. 

The conference will now take place from the 12th to the 16th of July 2021. 

Here is the link to the new website https://waterandsea2021.uni.lu/ 

Catalogue Raisonné Scholars Association (CRSA)

https://www.catalogueraisonne.org/

CRSA is embarking on a new initiative to strengthen its connections with other Affiliated Societies. We hope to increase the visibility and value of catalogues raisonnés to educators, art historians, and artists by engaging in conversations with our CAA colleagues about how  catalogues raisonnés can respond and contribute to evolving methodologies of art history research and analysis that can be applied to broad cultural studies as well as monographic subjects. We look forward to reaching out directly to our fellow Affiliated Societies–and welcome inquiries–as we work to develop future programs that encourage greater exchange among our membership and the larger CAA community. 

The CRSA website is also hosting a new online feature that offers reflections from the community of scholars on the inevitable gaps in documentation faced within the field of art research as well as the common experience of pause during the pandemic: “The Catalogue Raisonné and the Ellipsis” https://www.catalogueraisonne.org/ellipsis

The Getty Foundation to Fund the CAA-Getty International Program for a Tenth Year

posted by CAA — Jun 25, 2020

CAA-Getty Scholars at the 2020 Annual Conference in Chicago. Photo: Stacey Rupolo

The Getty Foundation has awarded CAA a grant to fund the CAA-Getty International Program for a tenth consecutive year. Unlike previous years, the 2021 program will take place virtually, due to the COVID-19 pandemic and the challenges of bringing international scholars to New York to attend the 2021 Annual Conference. CAA is especially grateful to the Getty Foundation for sustaining its support during these uncertain times, when maintaining contact with our international colleagues is more important than ever. Turning this crisis into an opportunity, the twenty participants in next year’s program will spend the time between now and February exploring the advantages of online technology for enriching scholarly research and building global bonds. Meme Omogbai, CAA’s new executive director, stated “We appreciate not only the Getty Foundation’s ongoing support, but also its faith in the CAA-Getty program to pursue scholarly excellence and innovation in an acutely challenging time. We believe the participants in this program will help lead the way for CAA’s future growth in international programs and membership.”

Over the coming months, the participants—all alumni of the program—will work in small online groups to workshop their conference papers, originally planned to be presented in person at the 2021 Annual Conference. What can be gained by geographically-distanced scholars collaborating regularly over the next six months, discussing and critiquing each other’s work? How will ideas evolve and change from early conversations to completed presentations?

The 2021 CAA-Getty program participants will also explore opportunities provided by online exchanges to produce resource materials for other scholars. Using recordings of the online discussions and the conference presentations, the group will initiate a virtual archive containing video and text documentation of the year’s work, including podcasts, bibliographies, and references related to the themes of the conference sessions. Although this virtual program breaks with the patterns established by the first nine years of the program, its forward-looking experiment in online scholarship is a fitting way to celebrate the tenth anniversary of a program that promises new models for robust scholarship in the post-COVID world.

“We applaud CAA for a taking a bold step to reimagine the international program online,” says Joan Weinstein, director of the Getty Foundation. “This thoughtful approach to digital engagement will teach us all a great deal about how to maintain international perspectives and connections in this new post-pandemic reality.”

The CAA-Getty International Program was established in 2011-12 to increase international participation in CAA and the CAA Annual Conference. The program fosters collaborations between North American art historians and curators and their international colleagues and introduces visual arts professionals to the unique environments and contexts of practices in different countries. Since the CAA-Getty International Program began, it has brought 135 first-time attendees from 49 countries to CAA’s Annual Conference. Historically, the majority of international registrants at the conference have come from Canada, 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 and researchers.

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.

2021 CAA-Getty International Program Participants

Danielle Becker, Stellenbosch University, South Africa

Federico Freschi, Otago Polytechnic, New Zealand

Georgina Gluzman, University of Buenos Aires, Argentina

Richard Gregor, Trnava University, Slovenia

Alison Kearney, University of the Witwatersrand, South Africa

Sandra Krizic Roban, Institute of Art History, Croatia

Peju Layiwola, University of Lagos, Nigeria

Daniela Lucena, University of Buenos Aires, Argentina

Priya Maholay-Jaradi, National University of Singapore

Ana Mannarino, Federal University of Rio De Janeiro, Brazil

Parul Mukherji, Jawaharlal Nehru University, India

Cristian Nae, George Enescu National University of Arts, Romania

Marton Orosz, Museum of Fine Arts, Hungary

Ceren Ozpinar, University of Brighton, United Kingdom

Dasha Panaiotti, Hermitage Museum, Russia

Valeria Paz Moscoso, Universidad Católica Boliviana San Pablo, Bolivia

Judy Peter, University of Johannesburg, South Africa

Horacio Ramos Cerna, City University of New York

Nora Veszpremi, University of Birmingham, United Kingdom

Giuliana Vidarte, Pontifical Catholic University, Peru

Filed under: Annual Conference, Grants and Fellowships, International —

An Interview with Nicole Archer, Editor-in-Chief of Art Journal Open

posted by CAA — Jun 15, 2020

Nicole Archer.

We’re delighted to introduce readers to Nicole Archer, the current Editor-in-Chief of Art Journal Open (AJO), CAA’s online forum for the visual arts that presents artists’ projects, conversations and interviews, scholarly essays, and other forms of content from across the cultural field. Founded in 2012 as an open-access affiliate of Art Journal, Art Journal Open has been independently edited since 2014. It remains open access and is always free to explore.

Nicole Archer researches contemporary art and design, with an emphasis in textile and garment histories. She is an Assistant Professor in the Department of Art and Design at Montclair State University, where she extends this research through a teaching practice that encourages students to explore politics and aesthetics via close examinations of style, embodiment, and desire.

Amidst the end of the academic year, we corresponded with her over email to learn more about her research, her thoughts on the impact of COVID-19, and her aspirations for Art Journal Open.

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Where are you from originally?

I was born in Brooklyn and raised mainly in South Florida, but I spent most of my adult life in San Francisco. In 2018, I returned to New York City.

What pathways led you to the work you do now?

My path has been shaped by a long line of committed feminist art historians, theorists, and activists who have inspired me to pursue work that is wildly curious, ethically responsible, and politically committed to issues of social justice. This, coupled with the fact that I started my college career in the mid-1990s, when the field of Visual Studies was demanding that Art History be held accountable for the role it played in supporting certain cultural hegemonies. It was a time when we were recognizing the benefit that many art historical methods could bring to critical cultural studies (and vice versa).

When did you first become a CAA member?

I have been a CAA member since 2011, but I was an avid reader of Art Journal and The Art Bulletin long before that (thanks to my library access).

What are you working on or thinking about currently?

I am currently finishing a book manuscript that considers how textiles (our key mediums of comfort and security) have been strategically manipulated over the last two decades to aid in the systematic reshaping of what constitutes “legitimate” versus “illegitimate” forms of state violence. The book tells interwoven, materially grounded stories regarding global arts and design practice, on the one hand, and military, police, and governmental action, on the other, to theorize how feelings of insecurity are produced, aesthetically.

My path has been shaped by a long line of committed feminist art historians, theorists, and activists who have inspired me to pursue work that is wildly curious, ethically responsible, and politically committed to issues of social justice.

What are your thoughts on the impact of COVID-19 on the work you do? On the field?

I think the current pandemic makes two things particularly clear. First, it highlights the important role that art and design can play in helping a society understand (and bear) emergent and acutely difficult circumstances. From movie marathons, artist talks, and book readings that we have enjoyed during our nights spent ‘sheltering in place,’ to the protest banners, photographs, and balcony performances that have led our communities towards acts of collective care and solidarity with one another.

Second, COVID-19 puts the varied inequities that underwrite the field in high relief. It makes the economic precarity of so many cultural workers glaringly obvious, and it forces us to recognize how undervalued cultural work actually is. We need to ask why we have allowed the arts to become so defunded and privatized (despite the social value it clearly delivers). Calls for austerity are circulating, and we know this means further cuts to already underfunded public arts initiatives. We need to resist this and seize this moment as an opportunity to insist on our value. We need to stop undercutting ourselves and our peers, and refuse to accept the exploitation of adjunct professors and graduate student teachers. We must do this as we push against the increasingly prohibitive costs of arts education.

What led you to be interested in working on Art Journal Open?

It is our shared responsibility, as arts and design professionals, to constantly “check” our field of practice—to find time to celebrate what we are doing well, and to redress and learn from our shortcomings. I believe this responsibility is a cornerstone of AJO’s editorial mission. Working on AJO is a unique opportunity to hold myself, and others, accountable on this front.

What is your vision for Art Journal Open during your tenure?

I hope to build on the solid foundation laid by the journal’s previous editors, and to further emphasize the open dimension of the publication’s identity—to treat “Open” as a verb, a call to action. We hope to accomplish this by leveraging the journal’s digital format, to open space for more multi-media Creative Projects, and to take advantage of our lack-of-paywall to help draw new readers to AJO and new voices to CAA.

The first three pieces published after Nicole Archer fully took over as Editor-in-Chief of Art Journal Open.

What would you say is your top arts-related recommendation (book, website, resource) at the moment?

I know I am late to this, but I recently found an online radio station called NTS and it is giving me life! I miss trusting my night to a DJ, hearing a new song out of nowhere, and dancing with strangers. I am also tired of soundscapes controlled by algorithms. People should give it a listen in their studios and kitchens, and at their computers and writing desks.

 

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A post shared by The Fabric Workshop and Museum (@fabricworkshop) on Mar 29, 2019 at 8:53am PDT

A favorite artwork?

Last year, I had the opportunity to see Sonya Clark’s Monumental Cloth, The Flag We Should Know at the Fabric Workshop and Museum in Philadelphia, and I have not been able to stop thinking about it since. Clark’s work epitomizes the important role art can play in ensuring that political discourse maintains its complexity in the face of a mediascape set on transforming these conversations into flat lines in the sand.

At the center of the exhibit was a monumental replica (15’x30’) of a white dish towel waived by Confederate troops in April 1865, before General E. Lee negotiated the terms of the Confederacy’s surrender. Displayed in a manner akin to the Star Spangled Banner (a centerpiece of the Smithsonian National Museum of American History’s collection), Monumental Cloth presented the Confederate Truce Flag as testament to a decisive moment in US history. It demanded that we ask why we do not know this flag, as a means to discuss anti-Blackness and the persistence of white supremacy in the United States. It provided a poignant, aesthetic counterstrategy to other manners of “memorializing” the Confederacy. The exhibit offered spaces of contemplation alongside opportunities for direct action—by setting-up looms that visitors could use to weave additional Truce Flag replicas, in opposition to the endless flow of commercially produced items made to bear the image of the Confederate Battle Flag.

What are you looking forward to?

Honestly, I am looking forward to the end of the Trump presidency, and to the possibility that the moment we are in could force real political and cultural change; that conversations around universal basic income and healthcare will gain traction, and that widespread recognition of the systemic racism inherent in the criminal justice system will open the door to both abolishing the prison system and defunding and demilitarizing the police that tyrannize communities of color in the US.

NICOLE ARCHER BIOGRAPHY

Nicole Archer researches contemporary art and design, with an emphasis in textile and garment histories. She is an Assistant Professor in the Department of Art and Design at Montclair State University, where she extends this research through a teaching practice that encourages students to explore politics and aesthetics via close examinations of style, embodiment, and desire.

Her work has been published in various journals, edited collections, and arts publications, including: Criticism: A Quarterly Journal for Literature and the Arts; Textile: The Journal of Cloth and Culture; Trap Door: Trans Cultural Production and the Politics of Visibility (published by the New Museum + MIT Press); Where are the Tiny Revolts? (published by the CCA Wattis Institute for Contemporary Arts + Sternberg Press); Women and Performance: A Journal of Feminist Theory.

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Explore Art Journal Open.

Filed under: Art History, Art Journal Open (AJO), CAA Conversations, Publications — Tags: featured —

News from the Art and Academic Worlds

posted by CAA — Jun 03, 2020

A makeshift memorial and mural by local artists to honor George Floyd, Minneapolis, Minnesota. Photo: Kerem Yucel/AFP, via CNN

Why Only Race-Conscious Policies Can Fix Racism in Higher Education “It isn’t enough to just believe that racial inequality is a problem; what policymakers, advocates, and citizens do about it matters most.” (The Education Trust)

Anti-Racism Resources for White Individuals A list of resources intended specifically for white people to begin or deepen anti-racism work, including social media accounts to follow, books, films, and podcasts. (via Twitter)

National Museum of African American History and Culture Releases “Talking About Race” Web Portal The museum moved up the release date for their new online portal, which provides digital tools, online exercises, video instructions, and scholarly articles. (NMAAHC)

‘My Emotions Were So Raw’: The People Creating Art to Remember George Floyd Artists have been responding with works that seek to memorialize, to provoke, and to heal. (CNN)

Culturally-Specific Museums Created by People of Color in the United States Bookmark Museum Hue’s directory for reference when you’re putting together syllabi, research, and programs. (Museum Hue)

Education After COVID-19 Cannot Be Reimagined Without A Racial Justice Plan Without a plan to explicitly address racial justice, any post-COVID-19 plan for reopening schools is inherently flawed. (Forbes)

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Filed under: CAA News —

An Interview with Suzanne Preston Blier on CAA’s Code of Best Practices and Publishing with Fair Use

posted by CAA — May 19, 2020

In 2019, Suzanne Preston Blier, professor of African art at Harvard University and former president of CAA, published a major book on Picasso’s use of global imagery, Picasso’s Demoiselles: The Untold Origins of a Modern Masterpiece. In addition to its scholarship the book is groundbreaking for its reliance on fair use, the principle within US copyright law that permits free reproduction of copyrighted images under certain conditions. CAA led the way among visual arts groups in calling for reliance on fair use, producing in 2015 its Code of Best Practices in Fair Use for the Visual Arts.

In this interview with Patricia Aufderheide, university professor and founding director of the Center for Media & Social Impact (CMSI) at American University, and a principal investigator in the CAA fair use project, Blier relates how she became an inadvertent pioneer of fair use in art history.

An Interview with Suzanne Preston Blier, Harvard University

By Patricia Aufderheide, American University

I met Prof. Blier, an award-winning art historian, when CMSI joined others in facilitating the Code of Best Practices in Fair Use for the Visual Arts for the College Art Association (CAA), with funding from the Samuel H. Kress and Andrew W. Mellon Foundations. Fair use is the well-established US right to use copyrighted material for free, if you are using that material for a different purpose (such as academic analysis, for instance) and in amounts relevant to the new purpose. Blier was the incoming president, as the Code launched.

The project addressed a huge need. Art historians, visual artists, art journal and book editors, and museum staff all have faced major hurdles in accomplishing their work because of copyright. Art historians avoided contemporary art in favor of analyzing public domain material. Visual artists hesitated to undertake innovative projects that reuse existing cultural material. Editors, or sometimes their authors, faced monumental bills for permissions and sometimes those permissions depended on an artist or artist’s estate agreeing with what they say. Museums hesitated to do virtual tours, or use images in their informational brochures, or even to mount group exhibits, because of prohibitive permissions costs. All together, some people in the visual arts called this “permissions culture.”

Once the Code came out, some things changed immediately. Museums rewrote their copyright use policies. Artists made new work. CAA’s publications—some of the leading journals in the field—adopted fair use as a default choice.Yale University Press prepared new author guidelines for fair use of images in scholarly art monographs to encourage fair use. Blier was one of the Code’s champions.

And then she needed it herself. As she began work on her most recent book, which ultimately resulted in Picasso’s Demoiselles: The Untold Origins of a Modern Masterpiece (Duke University Press, 2019, winner of the 2020 Robert Motherwell Book prize for an outstanding publication in the history and criticism of modernism in the arts by the Dedalus Foundation), she realized the subject faced the stiffest possible copyright challenge. To tell her story, she would have to be able to show images from a variety of artists, most challengingly, Picasso. She thought of Duke University Press, a publisher that has been willing to go ahead of others on fair use. So Blier approached them. Duke was very supportive, and they ended up hiring extra legal counsel for this. In the end, Blier said, she had to rewrite certain sections, and redo some images at the suggestion of outside counsel, to strengthen the fair use argument.

Blier tells the story of how the book got out into the world (and won an award), below.

Figure 1. Congo masks published in Leo Frobenius’ 1898 Die Masken und Geheimbünde Afrikas alongside Pablo Picasso’s Study of Man (1907). The Congo mask at the bottom, second from the left is the likely source for the crouching demoiselle. The mask at the top left shows tear lines from the eyes crossing diagonally down the cheeks similar to Picasso’s preliminary study for one of the men in an early compositional drawings for the canvas.

You’re an expert in African art. How did you end up writing a book about one of the most famous modernist artists?

This is a book I never intended to write; it found me. For my previous book, Art and Risk in Ancient Yoruba: Ife History, Power, and Identity, I was doing those last-minute bits of work in the library to check sources, and I pulled out a book adjacent to the book I was looking for, an old book by the German anthropologist, Leo Frobenius. I hadn’t read it since graduate school. As I opened it up, I looked down and I said, Wow, this is a book on African masks and they look like they’d be the ones Picasso used as models for his famous 1907 painting Demoiselles d’Avignon. At the time I had first read the book, Picasso’s drawings for the painting hadn’t been released. This time I saw it differently and as I was looking at it in the library, I saw there was tracing paper over the pictures. There was a line drawing covering each mask, and that seemed significant too.

The next thing I knew, I was hunting for a book from the Harvard library on Dahomey women warriors. It turned out it was in the medical school library, which should have been a sign. When I picked it up at the main library and flipped it open, I thought, Oh my god, it’s pornography! It was photos and line drawings of women around the world, in supposed “evolutionary” order. Photos of naked women begin with so-called “archaic,” in Papua New Guinea, right through to southern Europe, then Denmark. In the library I’m bending over, kind of hiding it, out of embarrassment. I bring it home and realize, Ohhhh!  Here’s another key source for Demoiselles. This volume, which was by Karl Heinrich Stratz, had gone through multiple editions, and one was published about the same time Picasso stopped using living models. Then I found another book, by Richard Burton, which had a rendering that Picasso clearly used for his 1905 sketch Salomé.

What happened next was the clincher. I went to Paris to lecture at Collège de France. The week before my lectures, I went to hear another speaker at the Collège, a medieval historian. One of the first slides he presented was a work from a medieval illustrator, Villard De Honnecourt. This book was a modern edition of an illustrated medieval manuscript, published in the right time frame for Picasso to have seen it. And I thought, Well, here’s another source Picasso used.

Later I was also able to rediscover a photo that allowed me to date the painting to a single night in March 1907. The scene is often identified as a brothel, but bordel in French doesn’t mean bordello, but rather a chaotic or complex situation. It was my belief that Picasso was creating a time-machine kind of image of the mothers of five races, as he understood them from the Stratz ethno-pornography book and other sources, each depicted in the art style of that region or period. My larger argument is not only that Picasso was using book illustration sources, but also that these books invite us to see the canvas in a new light, and that, for Picasso, the painting has its intellectual grounding in colonial-era ideas about human and artistic evolution.

Figure 2. Illustrations from Leo Frobenius’ 1898 Die Masken und Geheimbünde Afrikas showing (top two rows) the visual development of a mask into a human face. The middle illustration ,from the same Frobenius book shows line drawings of ijaw masks from Nigeria. The bottom image is a detail of the standing African figure from Picasso’s 1907, Les Demoiselles d’Avignon which appears to be based on a combination of these two masks.

What a sleuthing job! And so you decided to write the book then?

I wrote the first two chapters while I was in Paris doing the lecture. I saw it not as a coffee-table art book, but the kind of book you put in your knapsack as you head off to a long ride on the subway.

It was easy to write, but it was a very different story for the images. I immediately got a trade publisher in Britain to agree to publish it, and then they said they could not do it, because of problems getting permission to reproduce images from the Picasso Foundation.

The Picasso Foundation is notorious for making it difficult to access Picasso images, isn’t it?

The price of permissions is high, and this Foundation like many estates is interested in guarding the artist’s reputation as well. The difficulties of publishing on Picasso have been manifested in how little publishing was being done, and how scarce the images were in that work. Since 1973, there have been few heavily illustrated books about Picasso, except by wealthy individuals or museums in relation to an exhibition. I had heard about Rosalind Krauss publishing a work without permissions—at least that’s what I heard—anyway, she used very few images. Leo Steinberg apparently had not been able to arrange the rights for a work he wanted to do, a book edition of his two seminal articles on Les Demoiselles.

Although I hadn’t realized it until recently, in September 2019 there was an important case in the US, about a set of illustrated books by Christian Zervos with a wide array of Picasso illustrations. The case was started in France, but a US judge has allowed fair use.

But generally, yes, there’s common wisdom among art historians that the Picasso Foundation is a formidable challenge.

So how did you proceed when the first publisher backed out?

I was disheartened, but I got an agent. He sent it off to ten or twelve trade publishers worldwide—and came up with nothing.

Then I realized I was going to have to go to a university press. That was a big decision. The trade publication will pay for the images, and do all the work on the rights clearance. But with a university press, you’re on your own.

One of the first people I contacted was legendary editor Ken Wissoker at Duke University Press. He was interested, but then came the issue of the images. I may have broached fair use with him from the start. The manuscript had gone through peer review and it was in great shape except for this copyright issue. I had quite a number of images—in the end, it was 338. At Duke, they won’t begin the editorial process until you have all the copyright clearances on images done. So I began the difficult process of deciding how to get the images.

It was easy to write, but it was a very different story for the images.

Were you in contact with the Picasso Foundation directly?

I did contact them, in order to let them know about the project in general. I was doing final research work in Paris. I had framed the book as a travelogue in part addressing my discovery of these sources. I also wanted to find out so much more about Picasso. I’m not a modernist, I’m an outsider to the field. So I worked hard to get as much insight and criticism of the manuscript from specialists as I could.

I made it a point to meet with people at the Picasso Foundation. I had a Powerpoint of the images, which I showed to one of the key people there. Later I wrote to them, “here’s the manuscript, let me know if you have any thoughts.” And I heard nothing back. I had heard that with some manuscripts, they have been concerned one way or another. I didn’t want their permission for the intellectual content, but since they knew this artist and his life and family better than any academic could, I wanted their insights.

And then you started to look for permissions?

Well, I began to think about the cost of acquiring the images. The process is such that you have to go through the Artists Rights Society (ARS, a US licensing broker). And to get a price, you have to furnish the number of images, how many are color, the size of the print run, the prospective profit, and a whole series of things we could not know. Duke wouldn’t even look at the project editorially without having the rights in hand. I had heard difficult stories—that they were interested in looking at the galleys along the way, and requesting changes, for quality control, but it wasn’t possible to do this and work with the press.

If I had to guess, I would say that it might have cost me something like $80,000 of my own money to purchase the minimum number of images for this scholarly book, from which I expect to make no money, or very little.

Figure 3 from left to right: Pablo Picasso, Nude Combing Her Hair, 1906; Girl braiding hair from C. H. Stratz, La beauté de la femme, 1900 (Paris); Girl from Vienna from C.H. Stratz, La beauté de la femme, 1900; Picasso Seated Female Nude, 1908. Over the course of his long career Picasso would continue to use key visual insights from Frobenius, Stratz, and other illustrated sources he was exploring in this late 1906 to early 1907 period.

So how did you come to the decision to use them under fair use?

I had been president of CAA in 2016-17, and a longtime promoter of fair use and IP issues more generally. I was involved in the creation of the Code of Best Practices in Fair Use for the Visual Arts. For me, CAA’s role in fair use is one of the most important and radical (in a positive way) things that it has ever done.

I decided that fair use would make the most sense in this context. This was a book about an important modern artist. In addition, I’m a senior scholar—this was not my first publication. If the worst happened, if I had problems, well, I’ve had a great career and this would not harm it. I have tenure and so on. Also, as the then-president of CAA, I thought it was important to do this.

Besides, this to me was part of a larger picture of what I had done in my larger career. I’m very active locally in civic affairs, and really interested in promoting transparency, and democratic ideals. I was also very fortunate to have Peter Jaszi, a foremost legal scholar on fair use (and another principal investigator on the CAA project), working with me. At his suggestion, I took out an insurance policy, which for a fee—I think about $5,000—(with a $10,000 deductible) I was able to lower my anxiety level. I also paid $400 for an attorney to look over the insurance contract. And I had good friends like you, who when I got cold feet assured me it was the right thing to do. And of course, Duke is a publisher that has been willing to go ahead of others on fair use.

For me, CAA’s role in fair use is one of the most important and radical things that it has ever done.

Can you give me an example of something you had to change in the text to strengthen the fair use argument?

With a museum photograph of an African mask, for example, I had to explain why this particular way of photographing the work was critical to the argument in my book. I had to ad a few sentences to justify my selection of several Picasso works as well. I also had to give reasons in my text for why each of the chapter epigraphs was necessary.

Did you have to alter the use of imagery in any way to accommodate fair use?

There are changes the press made, design-wise, that reflected in part the decision to employ fair use. Many of the photos are shown in  black-and-white and the majority are reduced in size. I was constrained by the fact that I could only employ fair use if I could get access to the materials without going through the Picasso Foundation. So I had to acquire nearly all the images from published books, and many of the Picasso images were published in black and white and at a very small size, in a grainy context. I had to spend a lot of time hunting down the best possible images to use. In my book they are shown in relatively small size, along with information on where you can find color versions online.

That didn’t bother me too much, though. For readers and viewers at this juncture in the Internet era, we have become expert at extrapolating the fuller figure from a small image.

There is also a small spread of color images, a couple Picasso works as well as from other artists. For these images color was central to the book.

The decision to publish largely in black-and-white was, I think, also related to the fact that the Picasso Foundation and others are concerned that color representations be incredibly accurate, and it is very hard to get the color exactly right, when copying from books. You also have an issue with paper quality in getting accurate representation.

The cover is a handsome design, and very clever. They broke up the images into thumbnail-like sections, requiring you as a viewer to put them together as one image, similar to how Picasso was thinking in the early stages of cubism, where you as a viewer of an assemblage have to assemble them in your own mind, to make it work for you as a whole.

How was the book received?

It was a finalist for the Prose Prize, a prize of publishers to authors. My previous book won it in 2016. I didn’t expect to win it this time again, in 2019.  I was very honored that it was a finalist. It was also featured in the Wall Street Journal’s holiday art book list. And then, just recently, it won the Robert Motherwell Book Award.

Has the Picasso Foundation seen the book?

To date I’ve heard nothing. I was thinking earlier that the Picasso Foundation might want to stop it pre-publication. So much so that when I came back from travel in Africa, I went first to my academic mailbox, and was relieved when I saw no big legal envelope. But there has been no pushback. I certainly gave them the opportunity to comment on the content while it was still in manuscript. And last April or May, I went to France to meet with the curators at Musée Picasso about contributing an essay to a catalog. I sent them an article draft which they decided not to publish, which is fine, but also sent them a copy of the manuscript, and of course the Musée speaks to the Foundation.

Interestingly, the two cases where the Foundation has sued or prevented publication that I know of have to do with children’s books about Picasso. I don’t know what that means.

I always say, Use fair use. People still don’t trust it or believe it’s more difficult than it is.

Does the wider art history community know about this?

I hope this personal story makes a difference. We still have a lot of educating to do, in spite of the work we did around the Code. I continually get, on the art history listservs, questions—How can I get permission, and I always say, Use fair use. People still don’t trust it or believe it’s more difficult than it is.

At the CAA conference I just went to in Chicago, there seems to be a division between presses. Presses at private universities–Yale, Princeton, MIT, Duke—seem to feel more comfortable exploring this. But for university presses at some public institutions, these legal issues have to be taken up with the state attorney general, and there can be real nervousness stepping outside a narrow parameter. I learned this speaking to an editor at a state university press in a progressive state, who believes they’re being held back because of this fear.

I was pleased to see at this same conference a pamphlet on fair use by Duke University Press’s former Director, Steve Cohn. In his essay, he mentions my Picasso book and how happy he is that Duke chose to publish it this way. I figured, if Steve is openly talking about this fair use project, then the proverbial cat is out of the bag, and I could be more open and provide some of the back story from my end.

CAA’s scholarly publications, The Art Bulletin, Art Journal, and Art Journal Open rely on fair use as a matter of policy, and indicate when they do so in their photo credits. View a complete discussion of fair use and CAA’s Code of Best Practices.

Filed under: Art History, Books, CAA Conversations, Fair Use, Research —

CAA Names Appointed Directors to the Board of Directors

posted by CAA — Apr 30, 2020

CAA has named John Davis, Katy Rogers, and Kenneth Wissoker to our Board of Directors as appointed directors, each for a four-year term. “CAA’s appointed directors bring experience and perspectives that complement the strength and vision of the elected members of CAA’s board. The extent of scholarship, leadership, and professional accomplishment of the three new appointed directors will be invaluable to CAA as we begin strategizing as to how the organization can best serve our members and the art community at large in light of the ongoing effects of the COVID-19 crisis,” said N. Elizabeth Schlatter, President of CAA. “We are exceedingly grateful for the service and dedication of these appointed directors as well as that of all of our board members who volunteer so much time and commitment to our field.” 

John Davis

John Davis is a historian of the art and architecture of the United States. For twenty-five years, he served on the faculty of Smith College, where he taught in the art history and American studies programs, chaired the Art Department, and served as Associate Provost and Dean for Academic Development. In 2017, he joined the Smithsonian Institution as Provost and Under Secretary of Museums, Education, and Research, with responsibility for nineteen museums, nine research institutes, twenty-two libraries, fellowships and internships, and the National Zoo. He is currently serving as the Interim Director, Cooper Hewitt, Smithsonian Design Museum, in New York City. He has been a visiting professor in Japan, Belgium, and France and is an elected member of the American Antiquarian Society. His most recent publication is Art of the United States, 1750-2000: Primary Sources (2020), coauthored with Michael Leja. 

Katy Rogers

Katy Rogers is vice president and secretary of the Dedalus Foundation, where she also serves as the Programs Director and Director of the Robert Motherwell catalogue raisonné project. A graduate of the University of Colorado, she received her MA in Art History from Hunter College. She is also an alumna of the Whitney Museum of American Art’s Independent Study Program (ISP) where she was a Helena Rubinstein Curatorial Fellow. She is the co-author of the catalogue raisonné of Motherwell’s paintings and collages (Yale University Press 2012), and of Robert Motherwell: 100 Years (Skira 2015). She is currently working on a catalogue raisonné of Motherwell’s drawings to be published by Yale University Press in fall 2022. Since 2013, she has been the President of the Catalogue Raisonné Scholars Association where she co-organized the 2015 conference “The Catalogue Raisonné and its Construction” and the 2018 conference “The Afterlife of Sculptures: Posthumous Casts in Scholarship, the Market, and the Law.” 

Ken Wissoker

Ken Wissoker is Senior Executive Editor at Duke University Press, acquiring books across the humanities, social sciences, and the arts. He joined the Press as an Acquisitions Editor in 1991; became Editor-in-Chief in 1997; was named Editorial Director in 2005; and assumed his current position in 2020. In addition to his duties at the Press, he serves as Director of Intellectual Publics at The Graduate Center, CUNY in New York City. He has published more than a thousand books which have won over one hundred and fifty prizes. He has written on publishing for The Chronicle of Higher Education, The Scholarly Kitchen, and Cinema Journal, and writes a column for the Japanese cultural studies journal “5.” He speaks regularly on publishing at universities in the United States and around the world.  

About CAA Appointed Directors

Appointed directors bring a variety of views and skills that contribute to CAA’s growth and stability as a professional support organization. In February 2010, CAA members approved an amendment to Article VII, Section IV of the organizational By-laws to establish a new category of appointed director. Learn more.  

Filed under: Board of Directors, People in the News, Service —

Announcing the 2020 Terra Publication Grant Winners

posted by CAA — Mar 31, 2020

2020 TERRA FOUNDATION FOR AMERICAN ART INTERNATIONAL PUBLICATION GRANT WINNERS

CAA is pleased to announce the 2020 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. For this grant, “American art” is defined as art (circa 1500–1980) of what is now the geographic United States.

The four Terra Foundation grantees for 2020 are:

• Monica Bravo, Greater American Modernism: U.S. Photographers and the Mexican Cultural Renaissance, Yale University Press
• José E. Muñoz, Cruising Utopia: The Then and There of Queer Futurity, Brook, translation from English to French
• Craig Owens, Craig Owens: The Indignity of Speaking for Others. Selected Essays, Même pas l’hiver, translation from English to French
• Mona Schieren, Transcultural Translation in the Oeuvre of Agnes Martin: The Construction of Asianistic Aesthetics in American Art after 1945, Columbia University Press and Transcript Verlag, translation from German to English

The International Author Conference Subventions confer two non-US authors of top-ranked books travel funds and complimentary registration to attend CAA’s 2021 Annual Conference in New York, February 10-13; they also received one-year CAA memberships.

The two author awardees for 2020 are:

• Gaëtan Thomas
• Alice Wambergue

Learn More About the Terra Publication Grant

Filed under: Books, Grants and Fellowships —

CWA Picks for March 2020

posted by CAA — Mar 12, 2020

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 March below.

Lygia Clark, The Violoncellist (O Violoncelista), 1951
Oil on canvas, 105.5 x 81 cm
Private Collection
© Courtesy of “The World of Lygia Clark” Cultural Association

Lygia Clark: Painting as an Experimental Field, 1948–1958

Guggenheim Bilbao
March 6 – May 24, 2020

This important exhibition examines the formative investigations of Lygia Clark (b. 1920, Belo Horizonte–d. 1988, Rio de Janeiro), the pioneering Brazilian artist and founding member of the avant-garde Grupo Frente in Rio de Janeiro, and places significant chronological emphasis on her primary transition from figuration to abstraction and major series of geometric and concrete abstractions between 1948-1958.  The exhibition traces the artist’s evolution in three organized sections: “The Early Years, 1948-1952”; “Geometric Abstraction, 1953-56”; and “Variation of Form: Modulating Space, 1957-58”.  In 1956, Clark delivered a keynote lecture and spoke of painting as an “experimental field.”  In her early experiments, she liberated the painting’s frame and explored space as an “organic and spatial line.”  Clark envisioned spatial divisions as elastic and indeterminate and reinvigorated the pure grid of Neo-Plasticism through bodily and “vital” surfaces, a process of restructuring the plane of the canvas as a locus of exchange with the viewer.  While much scholarly attention has been granted to her later therapeutic practices, Painting as an Experimental Field traces her formal painterly principles and early constructivist influences, ideas that will develop and mature in her profound contribution to Brazilian Neo-Concretism.

Gendering Protest: Deborah Castillo and Érika Ordosgoitti

Mary H. Dana Women Artists Series Galleries, Rutgers University – Mabel Smith Douglass Library,New Brunswick, New Jersey
January 21 – April 3, 2020

The exhibition features the work of two exiled Venezuelan artists, Deborah Castillo and Érika Ordosgoitti, who respond to the increasingly repressive government of Venezuela and question the rising nationalism, economic inequality, and worsening social problems. It is part of the Mary H. Dana Women Artists Series and hosted by the Mabel Smith Douglass Library, the oldest continuous running exhibition space in the United States showcasing the work of emerging and established contemporary women artists. Castillo’s and Ordosgoitti’s artistic practice could be described as performance of protest. The female body featured in their work is imbued with agency and is able to effect social change. Their performative acts of disobedience and feminist social protests activate the body to challenge Venezuelan political regime and the country’s heteronormative patriarchal culture and canonical aesthetics.

Filed under: CWA Picks —

Affiliated Society News for March 2020

posted by CAA — Mar 10, 2020

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.

Association of Print Scholars

Mari Carmen Ramírez, Wortham Curator of Latin American Art & Director of the International Center for the Arts of the Americas at the Museum of Fine Arts, Houston, delivered the Fifth Annual APS Distinguished Scholar Lecture in New York City on January 24, 2020. Her lecture, “Marks, Materials, and Matrices: Experimental Printmaking and Drawing Practices in Latin America,” is now online at our event archive.

At the 2020 CAA Annual Conference in Chicago, APS sponsored the panel, “Registering the Matrix: Printing Matrices as Sites of Artistic Mediation.” Organized by Jun Nakamura of the University of Michigan, the panel featured four presentations: Jesse Feiman’s paper on “The Triumphal Arch of Maximilian I,”; Laurel Garber on artistic interventions and inventions on printing matrices in nineteenth-century France; Elissa Watters on Manet’s etching “The Absinthe Drinker,”; and Rachel Vogel on conceptual printmaking at NSCAD.

APS is now accepting applications for the APS Publication Grant, which supports the publication of innovative scholarly research about printmaking across all time periods and geographic regions. The grant carries a maximum award of $2,000 and is funded through the Association of Print Scholars and the generosity of C.G. Boerner and Harris Schrank. Applications are due August 31, 2020 and further details can be found here.

AMCA (Association for Modern and Contemporary Art of the Arab World, Iran, and Turkey)

2020 Rhonda A. Saad Prize for Best Paper in Modern and Contemporary Arab Art

The 2020 Rhonda A. Saad Prize for Best Paper in Modern and Contemporary Arab Art was awarded to Maryam Athari for her paper “Diagnostic Revelation: Rifat Chadirji’s Street Photography.” Maryam is a PhD Candidate in Art History at Northwestern University. The Rhonda A. Saad Prize review committee found that Maryam’s paper ““Diagnostic Revelation” offers an insightful account of Rifat Chadirji’s entwined photographic and architectural practices that is theoretically, historically, and formally grounded. Connecting Chadirji’s photographs to contemporary image practices by Iraqi and European-trained architects, her paper carefully articulates that these photographs “investigate challenges faced by architectural modernism in Iraq and its relation to everyday people.”

Established in 2010 in honor of our dear and respected colleague and friend, The Rhonda A. Saad Prize aims to recognize and promote excellence in the field of modern and contemporary Arab art. The award is offered to a graduate student or recent post-doctoral scholar working in any discipline whose paper is judged to provide the most significant contribution to the disciplines of Art History and Middle East Studies. For more information, submission guidelines, and interviews with previous winners, please visit www.amcainternational.org.

AMCA, in collaboration with the University of North Texas, receives grant from the Getty Foundation

This project is made possible with support from the Getty Foundation through its Connecting Art Histories initiative.

AMCA is happy to announce receiving funding from the Getty Foundation, as part of its Connecting Art Histories initiative, to support “Mapping Art Histories in the Arab World, Iran and Turkey.” The project team, led by Nada Shabout, Sarah Rogers, Pamela Karimi, Jessica Gerschultz, Anneka Lenssen, Sarah-Neel Smith, Dina Ramadan, and Tiffany Floyd, will undertake extensive research on courses, programs, and alternative educational platforms and initiatives in the fields of art history, architectural studies, and archaeology throughout the region. With increasing interest in the modern and contemporary arts of the Arab world, Iran, and Turkey, the need for the field’s historiography has become vital. A publication and interactive map are planned.

Society of Architectural Historians 

The Society of Architectural Historians has launched three surveys to collect information from academics for its two-year study on the status of the field of architectural history in higher education in the United States, the SAH Data Project. The surveys are intended for chairs and administrators, faculty, and students and represent the most public phase of the project’s data collection to date. The aim of the SAH Data Project is to determine where and in what ways the field of architectural history is expanding, receding, or holding steady, and to consider the structural or cultural factors behind such trends. 

The SAH Data Project team is using these surveys to gather some of the necessary quantitative data such as course enrollments over time, tenure-stream versus contingent faculty, faculty and student demographics. The surveys also collect crucial qualitative data about aspects of the field that may have long-lasting impacts, such as the effect of the 2008 economic downturn on architectural history programs and the extent to which students have demonstrated interest in themes related to social justice or the climate crisis. 

The three surveys for academics will remain open through May 15, 2020. SAH will invite architectural historians working outside the academy to share their perspectives and contribute to the project later this spring. This includes architectural historians employed by government agencies, nonprofit organizations, museums, design education organizations, preservation organizations and architectural publications, to name a few. 

In addition to online surveying, the project methodology also encompasses a variety of other kinds of quantitative and qualitative data-gathering tasks such as conducting in-depth group conversations with project constituents and analyzing existing publication lists for thematic trends over time. 

More information and links to the surveys are available at sah.org/data-project.

The Renaissance Society of America

RSA 2020 Philadelphia

More than 2,200 scholars from across the country and the globe will be coming to Philadelphia in April for the largest international conference devoted to the study of the era 1300–1700. Join the Renaissance Society of America for one or for several of the more than 570 sessions taking place April 2–4, 2020. Sessions include:

“New Perspectives on Italian Art” – click here for details

“Reconsidering Raphael” – click here for details

Roundtable:  “The Global Turn in Art History: Where Next” – click here for details

“Computer Vision and the Period Eye: Methodological Challenges for Computing Art” – click here for details

“Expanding the Canon: New Research of Artemisia, Marietta Tintoretto, Sofanisba, and Lavinia Fontana” – click here for details

“Placemaking and the Domestic Interior in Early Modern Europe” – click here for details 

You can view the full program here.

Day passes are available. You can order a day pass here to reserve a spot at the conference.

Attendees will be coming to RSA 2020 Philadelphia from Europe, Asia, Africa, South America, and across Canada and the United States—and we hope you will join us too. Please email rsa@rsa.org with any questions.

Visual Resources Association News

The next VRA international conference for image media professionals will take place at the Royal Sonesta Harbor Court Hotel in Baltimore from March 24-27, 2019. We welcome CAA members as well as any intensive image users and like-minded information professionals to join in on what is an exciting schedule of workshops, sessions, meetings, tours, and social events in Maryland.

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 that has been affiliated with CAA for many years (http://vraweb.org/).

In addition, the VRA Foundation (VRAF) continues to sponsor the Summer Educational Institute for Digital Stewardship of Visual Information (SEI), which is a joint project with the Art Libraries Society of North America (ARLIS/NA). This year it will take place from June 23-26 at Northwestern University in Evanston, IL. Beginning with the first institute held at Duke University in 2004, the goals for SEI have remained constant; to provide information professionals with a substantive educational and professional development opportunity focused on digital imaging, the information and experience needed to stay current in a rapidly changing field, and the opportunity to create a network of supportive colleagues. Nearly 400 visual resources professionals, librarians, museum professionals, graduate students, and individuals from an ever-widening number of fields have attended SEI and we welcome CAA members. For more information, see https://vrafoundation.org/summer-educational-institute/ and if you have any additional questions, please contact SEI Co-Chairs Courtney Baron or Bridget Madden.

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.

Historians of German, Scandinavian, and Central European Art & Architecture (HGSCEA)

As always, the annual conference was a busy and exciting time for HGSCEA.

Jordan Troeller and Hyewon Yoon chaired HGSCEA’s sponsored session, “A Foreign Eye: Photography, Women, and Global Encounters in the Twentieth Century,” which was very well attended, It offered excellent papers by Kim Felt, Alyssa Bralower, Kim Sichel, and Elisaveta Dvorakk on the complex and often fraught positions occupied by German, Swiss, and French women who worked as photographers in Japan, Palestine, Africa, and Afghanistan from the 1920s to the 1940s.

Directly after the session, newly elected members of the Board – Nina Amstutz (at large), Jenny Anger (Secretary), Thor Mednick (at large), and Nick Sawicki (at large) – met with continuing and outgoing members at the annual business meeting to discuss officers’ reports and proposals for the 2021 sponsored session. Morgan Ridler (Web Manager), Jeffrey Saletnik (at large), Adrian Sudhalter (Treasurer), and James van Dyke (President) will continue on the Board, while Kathleen Chapman, Karla Huebner, Juliet Koss, and Marsha Morton are moving on.

About thirty members gathered at Bistronomic for the annual members’ dinner. There, the results of the 2019 Emerging Scholars Publication Prize were announced. Honorable mentions went to Hannah Shaw for “The Trouble with the Censorship of August Sander’s Antlitz der Zeit” (PhotoResearcher) and to Kristin Schroeder for “A New Objectivity: Fashionable Surfaces in Lotte Laserstein’s New Woman Pictures” (The Art Bulletin). The winner was Aaron Hyman’s “The Habsburg Re-Making of the East at Schloss Schönbrunn, ‘or Things Equally Absurd’” (The Art Bulletin).

Finally, several members gathered at the Art Institute for a special HGSCEA event organized by Jay Clarke, Curator in the Department of Prints and Drawings. They had the opportunity to look closely at a large selection of works on paper ranging from Dürer and Hollar, through Kollwitz and Munch, to Kiefer and Trockel.

Public Art Dialogue (PAD)

Public Art Dialogue (PAD) is now accepting nominations for the 2021 PAD Award for achievement in public art. Past recipients include Michael Rakowitz, fierce pussy, and Judy Baca. Deadline is March 20, 2020. PAD is also soliciting submissions for its session during the 109th CAA Conference in New York. Abstracts of no more than 250 words are due April 1, 2020. Membership in Public Art Dialogue is required for all nominations and submissions, which may be sent to publicartdialogue@gmail.com. To join PAD, visit http://www.publicartdialogue.org/join.

Women’s Caucus for Art

Women’s Caucus for Art: Celebrating Achievements

The Women’s Caucus for Art hosted their annual conference concurrently with College Art Association national conference in Chicago, February 12-16, 2020. Under the conference theme of “Intersectionality,” WCA found many ways to celebrate the achievements of its members. WCA members exhibited work in two shows in Chicago during the conference – the national juried exhibition, Collectively Shifting, at Bridgeport Arts Center, and the Young Women’s Caucus exhibition, Intersectional History, at Woman Made Gallery. The Northern California chapter of WCA hosted an excellent panel discussion on “Amplifying Inclusion: Intersectional Feminism in Contemporary Curatorial Practice,” focused specifically on their F213 exhibition. WCA/CAA Liaison Rachel Epp Buller, along with SCWCA past president Niku Kashef, participated in several events celebrating the new co-edited book, Inappropriate Bodies: Art, Design, and Maternity. And the celebratory capstone event of the conference was the Lifetime Achievement Awards, presented in 2020 to Joyce Fernandes, Michiko Itatani, Judy Onofrio, Alison Saar, and Judith Stein, along with the President’s Awardee for Art and Activism, Rose Simpson.

SECAC

SECAC 2020 – Richmond,Virginia

Virginia Commonwealth University School of the Arts is honored to host the 76th annual meeting of SECAC in Richmond, VA from October 21-24, 2020. As its theme, the conference will engage the concept of commonwealth as an ideal of common good that pervades the political landscape of arts and educational institutions. We will question the complexities of a commonwealth, both in its original utopian form and its attendant failings as a colonial structure. With its rich history and diverse arts community, the city of Richmond will serve as an excellent setting to explore the 2020 conference theme through panel and round-table sessions, special events and exhibitions, and countless opportunities for individual exploration.  We are planning for over 130 individual sessions at the 2020 conference, all to take place at the conference hotel, the Richmond Marriott Downtown (500 East Broad Street). Additionally, we have planned exciting programming for conference participants, including:

• Keynote lecture by Valerie Cassel Oliver, Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts
• Juried Members’ Exhibition at The Anderson (VCUarts campus), with prizes awarded by guest juror, Dr. Sarah Eckhardt, Associate Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts
• 2019 SECAC Artist’s Fellowship Exhibition at the VCUarts Fine Arts Building gallery, and opportunity for open studio visits
• Excursions to the Virginia Museum of Fine Arts, VCU’s Institute of Contemporary Art, and the Hartnett Museum of Art at the University of Richmond

Call for Papers: February 10 – April 1, 2020

Juried Exhibition Entries: February 18 – April 15, 2020 

Early conference registration will open on August 4, 2020. Visit https://secacart.org/page/Richmond for registration rates and additional conference-related information.

Contact: secac2020@vcu.edu

Historians of Netherlandish Art

ARIAH (Association of Research Institutes in Art History) has awarded funds to the Journal of Historians of Netherlandish Art (jhna.org) for the development of hotspots in images for the lead article in the Summer 2019 issue (JHNA v. 11:2).  This is E. Melanie Gifford’s “The Fall of Phaeton in the Evolution of Peter Paul Rubens.”  Jennifer Henel will become the digital art history developer of the hotspots, along with Morgan Schwartz.  The Summer 2019 issue was funded by the Samuel H. Kress Foundation.

HNA is soliciting proposals for a session topic for CAA 2021 in New York, which will be held February 10-13^th at the Hilton.   Our deadline for proposals will be Tuesday, April 14^th, with a decision to be made shortly thereafter.  Session proposals for HNA sponsorship should appeal broadly to our membership, and should focus primarily (but not necessarily exclusively) on art and architecture of the Netherlands from approximately 1350 to 1750.  Chair(s) should be members of the HNA, and all speakers eventually selected are encouraged to be members as well.  Session proposals should include a title and summary of the topic (a maximum of 400 words), and cv of the chair(s).  Please submit your proposal to Louisa Wood Ruby, HNA Vice President, by April 14^th via email: woodruby@frick.org.

Association for Textual Scholarship of Art History (ATSAH)

ATSAH Recent Publications 

Andrzej Piotrowski, Professor, University of Minnesota, School of Architecture

The Routledge Handbook on the Reception of Classical Architecture, eds. Nicholas Temple, Andrzej Piotrowski, Juan Heredia (Abingdon & New York: Routledge, 2020).

Lindsay Alberts, Independent Scholar

Art Inquiries, Vol. 17, Number 4 (2019), covering Yale University Art Gallery’s exhibition “Leonardo: Discoveries in Verrocchio’s Workshop”

Sandra Cheng, Associate Professor of Art History, New York City College of Technolgy, CUNY

Sandra Cheng, “Ridiculous Portraits: Comic Ugliness and Early Modern Caricature” in Rire en images à la Renaissance, ed. by Francesca Alberti and Diane Bodart, 117-126. Turnhout: Brepols, 2018.

Eliana Carrara, Associate Professor of Art History, Università di Genova, Italy

1. CARRARA E. (2019), Fonti storico-artistiche prevasariane sulla ‘Sala grande’, in ITALIANISTICA, XLVIII/1, 2019, pp. 107-123;

1. CARRARA E. (2019), Il tema del Paragone delle Arti da Leonardo a Benedetto Varchi, in Nodi, vincoli e groppi leonardeschi. Études sur Léonard de Vinci. Sous la direction de Frédérique Dubard de Gaillarbois & Olivier Chiquet, Paris, Spartacus-idh, 2019, pp. 241-256;

1. CARRARA E. (2019), Biografi e biografie di Leonardo fra Rinascimento e prima età moderna (XVI-XVIII secolo), in Leonardo da Vinci. Disegnare il future, catalogo della mostra a cura di Enrica Pagella, Francesco Paolo di Teodoro, Paola Salvi, Cinisello Balsamo (MI), Silvana Editoriale, 2019, pp. 157-181;

1. CARRARA E. (2019), La correspondance de Giorgio Vasari: un exemplum du nouveau statut de l’«artefice», à la croisée de l’art et de la littérature, In Relier, délier les langues Formes et dés linguistiques de l’écriture épistolaire (Moyen Âge – première modernité), éds. C. Panzera et alii, Paris, Editions Hermann, 2019, pp. 179-204;

Lynette M.F. Bosch,  Professor of Art History and Distinguished Professor at SUNY, Geneseo

2020 – Mannerism, Spirituality and Cognition: The Art of Enargeia, Routledge Press

2019 - Demi, Skira Press.

2019 – “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.

Liana De Girolami Cheney, President of ATSAH. Professor of Art History (emerita) UMASS Lowell

2020 editor, Readings in Italian Mannerism II: Architecture. Peter Lang

2020, “Lavinia Fontana’s Galatea: Personification of  Fortune and Venus”

The Journal of Literature and Art Studies vol. 10. no. 1 (January 2020): 42-59.

2019. “Giorgio Vasari’s Mercury: God of Magic and Wisdom,” Journal of Cultural and Religious Studies,Vol. 7, No. 10 (October 2019): 511-50.

Filed under: Affiliated Societies —

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