Conference on Women Gender in Art Art History 2020 in New York Ct Nj
Each week this Women's History Month, we highlight the rich scholarship and programs produced at CAA that celebrate women in the fields of visual arts and the humanities. This week, we are sharing a bibliography of manufactures from our open-access journal Art Journal Open up that feature women artists.
This Women's History Month is also particularly significant this year, which is the 50th anniversary of feminism at CAA. To learn more about this history,visit this folio. CAA is also collecting archival materials to amend sympathise and document the history of its Committee of Women in the Arts, including the committee's many collaborations with other chapter committees and groups, such every bit the Women's Caucus for Art, The Feminist Art Project, the Queer Caucus, and many more.Visit this page for more than information.
 | Andrew, Nell. "DadaDance: Sophie Taueber's Visceral Abstraction." Fine art Periodical Open (July three, 2014). Sophie Taueber-Arp, Free Vertical-Horizontal Rhythms (Rythmes verticaux-horizontaux libres), 1919, gouache, xi xv⁄sixteen x 8 9⁄16 in. (xxx.3 x 21.viii cm). Stiftung Hans Arp und Sophie Taeuber Arp e.Five., inv. 003.205 (artwork in the public domain; photograph provided by Stiftung Hans Arp und Sophie Taeuber Arp) |
 | Barakeh, Zeina. "Projections for the Third Half [Deject Storm]." Fine art Journal Open (August half dozen, 2020). Zeina Barakeh, Projections From The Third Half [Cloud Storm], 2020, animation, three min. (artwork © Zeina Barakeh) |
 | Barber, Tiffany E. "Narcissister, a Truly Kinky Creative person." Art Journal Open (March eleven, 2020). Narcissister, Red Riding Hood, 2014, mixed media (photograph provided by the artist) |
 | Berrigan, Caitlin and Sasha Engelmann. "Fault Lines and Fractures: A Conversation about Imaginary Explosions." Art Journal Open up (Dec 17, 2020). Caitlin Berrigan, excerpt from Imaginary Explosions, 2018 |
 | Bryan-Wilson, Julia and Mary Beth Heffernan. " Facing Social Practice: Mary Beth Heffernan in chat with Julia Bryan-Wilson." Art Journal Open up (June 30, 2020). Stanford Limited Care nurse Anna Chico, who was among the starting time providers to use PPE Portraits for COVID-xix care, March 2020 (photo by Cati Dark-brown-Johnson) |
 | Burns, A.Chiliad. and Melissa Ragain. "ScriptingA Smeary Spot ." Art Journal Open (December viii, 2017). The tardily Jack Doroshow performs as Mother Flawless, a clairvoyant psyche. In this scene she recites an excerpt from Joanna Russ' sci-fi novel We Who Are About To. . . , A.K. Burns, video still from A Smeary Spot, 2015, four-channel video installation, Hd colour, six-channel sound, TRT 53:thirteen (artwork © A.K. Burns; image provided by the creative person, Callicoon Fine Arts, NY, and Michel Rein Gallery, Paris/Brussels) |
 | Cancelmo, Amy. "Roots and Constitutional Kija Lucas and Amy Cancelmo in Chat." Art Journal Open up (Baronial 30, 2016). Kija Lucas, Bristol 30, 2013, archival pigment print, 20 10 24 in. (50.8 x sixty.nine cm), from In Search of Home, (artwork © Kija Lucas) |
 | Carland, Tammy Rae and Ann Cvetkovich. "Sharing an Archive of Feelings: A Conversation." Art Journal Open (October 24, 2013). Tammy Rae Carland, Galz Living Room, MWMF, from Outpost, 2004, color photograph, 20 x 24 in. (fifty.eight ten 61cm) (artwork © Tammy Rae Carland) |
 | Costello, Kate. "P&P ." Fine art Journal Open (November three, 2016). Withal from Kate Costello,P&P, 2016, video, i min., 26 sec. (artwork © Kate Costello) |
 | Craycroft, Anna. "To Listen." Fine art Periodical Open (October 25, 2017). Sophomore Seminar with Meg Cranston and Marlena Donohue, April five, 2017: Meg Cranston and Marlena Donohue's class met with Anna Craycroft to discuss Tuning the Room in relation to Umberto Eco's essay "The Open up Piece of work." (artwork © Anna Craycroft) |
 | Craycroft, Anna. "To Tape, to Interpret, to Annotate." Art Journal Open (March one, 2017). Anna Craycroft, The World Is a Magnet, 2016, installation view, part of The Artist's Museum, Institute of Gimmicky Fine art Boston, November xvi, 2016–March 26, 2017 (artwork © Anna Craycroft; photograph by Charles Mayer) |
 | DaPonte, Amy A. "Candida Höfer's Turken in Deutschland as 'Counter-publicity'." Art Journal Open (January half dozen, 2017). Candida Höfer, Untitled from Türken in Deutschland 1979, 1979, color slide projection, 80 slides, approx. 7 min., dimensions variable (artwork © Candida Höfer, Köln/VG Bild-Kunst, Bonn 2016) |
 | Fuenmayor, Jesús. "Barricades of Silence: Nikita Gale in Chat with Jesús Fuenmayor." Art Journal Open (August 20, 2020). Nikita Gale, INTERCEPTOR, 2019, installation view, Autumn Apart: Nikita Gale & Pat O'Neill, Martos Gallery, New York, January 11–February 24, 2019 (artwork © Nikita Gale; photograph by Charles Benton/Martos Gallery, provided past the creative person) |
 | Goodeve, Thyrza Nichols. "The True cat is My Medium: Notes on Writing and Art of Carloee Schneemann." Art Periodical Open up (July 29, 2015). Carolee Schneemann, Kitch'southward Last Meal, 1973–76, Super 8mm film, double project, vertical, audio on cassette, ca. 5 hrs., ii installation views (artwork © Carolee Schneemann; photographs provided by the artist) |
 | Goulish, Matthew. "A Clear Day and No Memories: Neurology, Philosophy, and Analogy in Kerry Tribe's HM." Fine art Journal Open up (February 5, 2014). Eadward Muybridge, Pi-Wi-Ack, Valley of the Yosemite (Shower of Stars), "Vernal Fall," 400 Feet Autumn, No. 29, 1872, wet-plate collodion photograph (photo in the public domain) |
 | Graham, Amanda Jane. "Space Travels: Trisha Dark-brown'south Locus." Art Journal Open (July 22, 2016). Trisha Brown, Locus Solo, 2011, performed by Diane Madden in "Operation eleven: OnLine/Trisha Dark-brown Dance Company" in conjunction with the exhibition On Line: Drawing through the Twentieth Century, Museum of Modern Art, New York, Jan 2011 (photographs © Yi-Chun Wu; photographs provided by Museum of Modern Art/Licensed by SCALA/Fine art Resource, NY) |
 | Jenkinson, Monique. "Diva Maw." Art Journal Open (October 29, 2020). Monique Jenkinson (Fauxnique), Diva Maw, 2020, digital video, 5:35 min.; soundtrack by Marc Kate, Untitled ("Diva Maw" Soundtrack), 2020, sound file (video © Monique Jenkinson; soundtrack © Marc Kate) |
 | Kauffman, Vanessa. "Exterior of Fourth dimension: Patricia Fernández Carcedo in Conversation with Vanessa Kauffman." Art Journal Open (August 12, 2016). Visitors in Patricia Fernández Carcedo'south studio during Headlands' Fall 2015 Open up House (artwork © Patricia Fernández Carcedo; photograph past Rebecca Puretz, provided past Headlands Center for the Arts) |
 | Light amplification by stimulated emission of radiation, Liz Magic and Christopher Y. Lew. "InterAct: a reenacted interview." Art Journal Open (May 4, 2011) Liz Magic Laser, Flight, 2010, performance, MoMA PS1, Long Island City, Apr ten, 2010 (artwork © Liz Magic Laser; photo by Mia Tramz, provided past Derek Eller Gallery). The performance was developed in collaboration with actors Lindsey Andersen, Nic Grelli, Elizabeth Hodur, Michael Wiener, Max Woertendyke, and Lia Woertendyke |
 | Lee, Young Jean. "Women in Downtown Theater." Fine art Journal Open (Baronial 26, 2012). |
 | Leeson, Lynn Hershman. "Excerpts from the Graphic Novel !Women Art Revolution—A Cloak-and-dagger History." Art Periodical Open up (May 29, 2011) |
 | Mann, Elana. " I twenty-four hours I volition brand a mace, but for now I have a oral fissure." Fine art Journal Open (September 30, 2021). Elana Mann, Unidentified Bright Object #61, 2021, clay, wood, and glass, xiv ½ ten 3 ½ x 3 ¾ in. (36.viii x 8.9 x nine.v cm) (artwork © Elana Isle of mann; photographs by Brica Wilcox) |
 | Masley-Charlet, Caitlin. "Caitlin Masley-Charlet in Chat with Elisabeth Smolarz." Art Journal Open up (June 5, 2018). Elisabeth Smolarz, ENCYCLOPEDIA OF THINGS, ongoing 2014–2017. Archival inkjet prints, dimensions variable. Courtesy of the artist. |
 | Masley-Charlet, Caitlin. "Caitlin Masley-Charlet and Diana Shpungin in Conversation." Art Journal Open (July eight, 2016). Diana Shpungin, item of A Interruption in One and Several Places, 2015, graphite pencil, horsehair broom, glazed porcelain and stoneware, 24 x 43 10 14 in. (60.9 x 109.2 x 35.five cm) (artwork © Diana Shpungin) |
 | McKee, C.C. "'a salting of sorts': Salt, Bounding main, and Affective Form in the work of Deborah Jack." Fine art Journal Open up (July thirty, 2019). Deborah Jack, SHORE, 2004, nylon screens, video projection, rock salt, reflecting pool, dimensions variable, installation view, Big Orbit Gallery, Buffalo, New York (artwork © Deborah Jack; photo provided by the artist) |
 | McClure, Michael Jay. "If it Need Be Termed Surrender: Trisha Donnelly'due south Subjunctive Case." Art Journal Open up (July 29, 2013). Trisha Donnelly, Untitled, 2008, plaster, horsehair, paint, pillow, belts, lamp, 2 parts, ea. 36 x 60 x 22¾ in. (91.4 x 152.iv ten 57.viii cm), installation view, The Quick and the Dead, Walker Art Middle, 2009 (artwork © Trisha Donnelly; photograph provided by Casey Kaplan, New York) |
 | Ohsawa, Asuka. "Squares, Triangles, and Cats." Art Journal Open (December 31, 2020). |
 | Porges, Maria. "Shortest Stories." Art Journal Open up (December 20, 2018). |
 | Rosa, María Laura. " Questions of Identity: Photographic Series past Alicia D'Amico, 1983–86." Fine art Journal Open (July 2, 2019). Alicia D'Amico photo of Liliana, a performance by Liliana Mizrahi, 1983, scanned re-create of original negative, reproduction from original 35mm negative contact (photo © Archivo Alicia D'Amico, Buenos Aires) |
 | Santos, Dorothy R. " Domain Errors." Fine art Journal Open up (July 24, 2020). |
 | Schiff, Karen Fifty. "Imprinting Agnes Martin." Art Journal Open (Dec nineteen, 2014). Karen 50. Schiff, Agnes Martin, El País, 21 December 2004, 2, 2005, graphite and stylus on vellum, 17 x 12 inches (artwork © Karen 50. Schiff) |
 | Sifuentes, Aram Han. "Official Unofficial Voting Station: Voting for All Who Legally Tin't." Art Journal Open (October ane, 2020). Protest Banner Lending Library, Let Us Vote! and Official Unofficial Voting Station, 2020, cloth banners (photograph past Thaib A. Wahab) |
 | Szymanek, Angelique. "Haptic Encounters: Margarita Cabera's Space in Between." Fine art Periodical Open (October xv, 2020). Margarita Cabrera, Sewing Machine (Blue-Green), 2016, vinyl, thread, copper wire, and apparatus parts (artwork © 2020 Margarita Cabrera/Licensed by VAGA at Artists Rights Society [ARS], NY; photograph provided by the artist) |
 | Vlassopoulou, Penelope. "No water, Athens, Greece, 2015: 20-four hours with zero to eat or drink, only smelling the jasmine." Art Journal Open (October 26, 2016). Excerpt from Pandelis Prevelakis,I Kefali tis Medousas [The Head of Medusa] (Athens: Friends' Editions, 1963), trans. the creative person and Markus Nystrom |
 | Watt, Marie. "In Conversation with Marie Watt: A New Coyote Tale." Art Journal Open (October 19, 2017). Marie Watt, Blanket Stories: Transportation Object, Generous Ones, Expedition, 2014, cast statuary, 18 10 four ten 6 ft. (5.49 x 1.22 x 1.83 m). Permanent installation, Tacoma Art Museum, Tacoma, Washington (artwork © Marie Watt; photo past Benjamin Benschneider/OTTO) |
 | Wilson, Siona. " Portraits (and) Matter." Art Journal Open (January 13, 2022). |
 | Yoshitake, Mika. "Humans take been Human being for so long: Shana Lutker and Mika Yoshitake in Conversation." Art Periodical Open (August 2, 2016). Shana Lutker, A handsome confused puppet, 2015, mirrored drinking glass box, fluorescent lights, woods, marble, casters, 49 x 30 x nineteen in. (124.iv x 76.2 x 48.2 cm) (artwork © Shana Lutker; photo by Cathy Carver) |
 | Yurshansky, Jenny. " Hibernate and Seek ." Art Journal Open (March 25, 2021). Jenny Yurshansky, Hibernate and Seek (folded view), 2021, interactive sculpture, inkjet print, three 3/4 x iii 3/4 x iii in. (9.five ten ix.5 x seven.half dozen cm) (photograph provided past the creative person) Folk tradition meets revisionist storytelling in Jenny Yurshansky'south printable sculpture |
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The results of the 2022 CAA Board of Directors Election were presented at the CAA Annual Business organization Coming together, Office Two on Friday, February 18 at ii:00 p.m. (CST) at CAA'south 110th Annual Briefing.
We are grateful to all the candidates who put frontward their names for consideration this yr.
Nearly THE BOARD OF DIRECTORS
The Board of Directors is charged with CAA'southward long-term fiscal stability and strategic direction; it is also the Association'south governing body. The lath sets policy regarding all aspects of CAA'south activities, including publishing, the Almanac Conference, awards and fellowships, advocacy, and committee procedures.
Thank y'all to all those who voted!
We would like to congratulate Gregory Gilbert, Nazar Kozak, Karen J. Leader, Adity Saxena, and Victoria McCraven on their ballot to CAA's Board of Directors.
Gregory Gilbert
Nazar Kozak
Karen J. Leader
Victoria McCraven
Adity Saxena
I call myself a messenger of happiness and believe in empathy. Heed-map is my tool for plotting ideas and communicating through stories. In the past 18 years of my professional journey, I have progressed from a blueprint educator of a vocational training institution to a Dean of the Woxsen School of Arts and Design, India. In addition, I have expanded my path from teaching to bookish coordination to academic leadership.
Being a outset-generation graduate, I have many pauses, slow and fast pace in my journey path, which gives me an agreement of people, culture, and power of empathy. I am a teenage girl's mother, a certified design thinker, and a mentor.
My experience includes allied fields like working equally a Restorative Justice co-facilitator in a school project in the United States and many global research projects. I am India representative of Restorative Justice Teaching, The states, a nonprofit, 501(c)(iii) corporation) is to promotes the practice of Restorative in school education to create a civilisation of care.
The social role of art, wellbeing and education are the areas that interest me more. My inquiry has been published globally and many of my inquiry are the consequence of global collaborations. I take been invited to share my thoughts about the challenges in online teaching, corporate storytelling, and design thinking on many international platforms.
I have been featured in The Bookish Woman Magazine, the Great britain, in Jan-March, 2022 issue. In add-on, recently, I have been invited to work as an external member in Design Thinking for Social Change, a project funded past the European Marriage.
I am privileged to be connected with a global network and believe in the power of collaborations. My dream is to create an enjoyable learning space for students and teachers.
The January/Feb "Picks" selected past the Committee on Women in the Arts reflect on the difficult pursuit of creative freedom through idiosyncratic yet careful explorations of color, form, genre, and medium too as voice and accost. The results are odd, anxious atmospheres that test reality's actual contours and complaining the strange alienations and lurking injustices that constitute normalcy.
Joan Semmel, Untitled (Fem Page), 2007, Digital Print, 12 x 12 inches, copyright©Joan Semmel/Artists Rights Lodge (ARS) New York
Mika Tajima: You Must Be Free
January 22 through March 12, 2022
Kayne Griffin, Los Angeles
From an early investigation into the regulatory and relational structures of human bodies in built environments, Mika Tajima'southward recent work extends her inquiry into the weather condition of human agency and self-determinacy. This exhibition focuses on the necessity and impossibility of liberty in our contemporary moment. The title, You Must Exist Free, appears as an external command to achieve liberty and produces a contradictory tension that reveals a social limit to its practice. The speech act presents freedom equally a pressing desire and controlling demand on the subject field, underlining the entwinement of command and liberty. The animating force of this paradoxical directive is manifested in this exhibition as air pressure and its circulation through contained and porous objects and architecture.
Brittany Tucker: Exhaustion
Jan 8 through February v, 2022
Steve Turner Gallery, Los Angeles, California
Burnout is a solo exhibition by Vienna-based Brittany Tucker featuring new large-scale loosely rendered paintings, one-half of which comprise text that was spray-painted on in a street-tag fashion. Tucker's works of the past few years often juxtaposed a realistic likeness of the creative person interacting with cartoon-similar characters. In these works, her chief drawing nemesis of the past, a grin, often taunting white man, is featured in but one canvass, where he is spilling blackness paint off the lesser edge of the sail. Mitt prints and pes prints mark the groundwork around him, simply Tucker is otherwise absent from the scene. When Tucker's likeness appears in other works, she appears to be uncomfortable, contorted, or obscured. According to the artist, these works represent her want to shut out the world'southward expectations of a Blackness female artist and to work more impulsively. Equally a consequence, they represent an unrestrained portrait of her psychological land as an expat living, working and studying in Vienna in which confusion, sadness, emotional fragility, self-reflection, honesty and ultimately courage and optimism are portrayed.
Joan Semmel: Skin in the Game
Oct 28, 2021 through April 3, 2022
Pennsylvania University of Fine Arts, Philadelphia, Pennsylvania
Joan Semmel: Pare in the Game includes approximately 40 paintings that evidence the remarkable continuity and assiduity of Semmel's practice, and focus on 4 main themes—erotic abstraction; the cocky; expressive figuration; and photography and painting—that traverse five decades of work and reveal a strong counter narrative to the traditional telling of the history of painting in the Usa from the tardily 1960s to today. Semmel's work reflects the ongoing struggle for women's equal representation and power to make decisions about their own bodies and sexuality while centering female empowerment through the self. In Semmel's ain words: "I practise not pretend to address the issues of all women in the world. My work is personal and I speak for myself. Women artists accept to speak for themselves and then unite to fight the political fight."
Allison Katz—Avenue
Jan 14 through March xiii, 2022
Camden Art Centre, Arkwright Road, London
Attention to the idiosyncratic and eccentric, to personal mythologies and embodied experience, painter Allison Katz treats her ain biography as source material, every bit well as drawing from dream objects, art historical references, and the texture of everyday life. Her exhibition unfolds through a series of biographical anecdotes and moments of synchronicity, opening the world up to a game of allusions, double entendre, slips and wordplay.
Emily: Desert Painter of Australia
January 21 through March 12, 2022
Gagosian, Paris, France
Emily: Desert Painter of Australia is the first solo exhibition in France of the work of Emily Kame Kngwarreye (1910–1996). Emily is unique among Ethnic Australian painters for her rapid and systematic exploration of different styles and for her bold creativity with regard to form and colour. Over time, her mesmerizing early "dot" paintings ceded to more gestural canvases, reduced in their particular and liberated in their formal qualities. Until her death in 1996, she painted prolifically on both intimate and thousand scale, with brushes, sticks, and fingertips on unstretched linen laid apartment on the footing, sitting beside or inside the composition itself
Laurie Anderson: The Weather
September 24, 2021 through July 31, 2022
Hirshorn Museum and Sculpture Garden, Washington D.C.
Laurie Anderson: The Weather is the largest-ever U.S. exhibition of artwork past historic multimedia artist Laurie Anderson. Spanning her groundbreaking video and operation works from the 1970s to recent years, the exhibition guides visitors through an immersive audiovisual experience in the Museum's 2nd-floor galleries. This dynamic survey showcases the artist'southward boundless creative process by highlighting time-based media, including To the Moon (2018), a fifteen-infinitesimal virtual reality work, as well as the largest exhibition of her paintings to date.
Lucy Kim: Skin Might See
January 24 – March 5, 2022
University Gallery, UMASS Lowell
Skin Might Come across includes the offset gallery showing of Kim'due south Knife Paintings, as well as work from her Auto-Constructed series. Kim is a visual creative person who uses mold making and illusionistic painting to create hybrid objects that navigate the borderlands between painting and sculpture. She describes mold making and casting as a "sculptural surrogate for photography." In both bodies of piece of work there is intrigue in the tension betwixt skin and bandage surface. Curator Julie Poitras Santos wrote that in Kim's oeuvre "the surface skin competes for visual primacy with the three dimensional course…" These startling integuments oft seem at odds with the kitchen accoutrements and other structures that prevarication beneath, creating a frisson and a place of interrogation betwixt media and meaning.
Cover of The Eye, the Manus, the Mind: 100 Years of the Higher Art Association, edited by Susan Ball (Rutgers, 2011) featuring detail of Religion Ringgold, The Sunflower Quilting Bee at Arles, 1996
On Nov 4, CAA had the privilege to host the digital event celebrating The Center, the Hand, the Mind: 100 Years of the College Fine art Association . If you were unable to make it, delight watch this recording of the outcome.
Published in 2010, this volume documents and examines over a century of CAA's history. The issue features Susan Ball, editor of the publication, and writer Julia Sienkewicz, who will discuss their contributions to the project and how topics and issues have shifted and changed in the terminal decade. A conversation between CAA CEO and Executive Director, Meme Omogbai, and art historian, Anne Higonnet, will reflect on these insights and CAA's plans for the time to come. This chat also will honour Robert L. Herbert, the dedicatee of the book, and will hash out how his legacy has impacted the field and so many at CAA.
Post-obit this effect, CAA volition release a series of curt videos from authors discussing their specific chapters within the book, including Julia A. Sienkewicz, Judith Brodsky, Ellen Levy, and Karen Leader. Their presentations volition encompass a range of topics apropos CAA'southward history, from advocacy and feminist initiatives to CAA'south by exhibition programs and conferences.
Well-nigh the book :
Susan Ball, editor. The Eye, the Hand, the Mind: 100 Years of the College Art Association (Rutgers University Printing, 2011). Copies are available for buy here .
In 1911 the College Art Association began with a modest group of college art teachers whose single mission was to promote "art interests in all divisions of American colleges and universities." I hundred years after the CAA, as it is usually known, is as diverse equally the decades that witnessed its maturity and growth. As leadership and membership grew dynamically, art and fine art history professors were joined by non-academic visual artists and art historians, museum professionals, art librarians, visual resource curators, independent scholars and artists, collectors, dealers, conservators, and non-higher educators.
The Eye, the Hand, the Listen is a collaborative journey, filled with pictorial mementoes and enlivening stories and anecdotes. In these essays readers discover the important role CAA played in major bug in higher education such as curriculum development, preservation of globe monuments, workforce issues and market equity, intellectual property and gratis spoken language, capturing conflicts and reconciliations inherent among artists and art historians, pedagogical approaches and disquisitional interpretations/interventions as played out in association publications, annual conferences, advancement efforts, and governance.
Celebrating the centennial of CAA members and milestones, Susan Ball and renowned contributors award the organization'due south complex history which, in part, also represents many learned societies and the humanities over the last one hundred years.
About the speakers :
Susan Ball, Ph.D.: Susan Ball edited The Eye, the Hand, the Heed . Ball holds a Ph.D. in fine art and architectural history from Yale Academy and holds over 35 years of professional experience – every bit a professor, scholar, museum professional person and nonprofit bureau manager. Ball served as Acting Director of Programs at the New York Foundation for the Arts (NYFA). Prior, she was Executive Director at the College Art Clan, Professor of Art History at the Academy of Delaware, the Director of Government and Foundation Affairs at the Art Institute of Chicago, and a consultant with the Shelley and Donald Rubin Foundation. As an author and editor, she has contributed significant works of scholarship in her field, such as The Profitable Artist: A Handbook for All Artists in the Literary, Media, Performing, and Visual Arts with Peter Cobb and Felicity Hogan (Allworth Printing, 2011), and has served on many boards.
Julia A. Sienkewicz, PhD : In The Eye, the Hand, the Mind , Sienkewicz authored the chapter, "Uniting the Arts and the Academy: A History of the CAA Annual Briefing." Sienkewicz, an Associate Professor of Art History at Roanoke College, holds both an MA and PhD from the University of Illinois and a BA from Mt. Holyoke College. She is the author of Epic Landscapes: Benjamin Henry Latrobe and the Art of Watercolor (2019). Currently, she is at work on the monograph Forms of White Hegemony: Transnational Sculpture, Racialized Identity, and the Torch of Civilization, 1836-1865 , enquiry that has been recognized with the honour of a Terra Foundation Fellowship at the American Academy in Rome. She recently edited a special issue of the Art History Pedagogy and Practice journal entitled, "Teaching and Learning the Art History of the U.s.." Sienkewicz served in leadership roles at CAA for more than a decade, nigh recently concluding a term on the Board of Directors every bit the VP for Committees.
Anne Higonnet, Ph.D .: Anne Higonnet is now Professor of Art History at Barnard Higher of Columbia University. She received her BA from Harvard Higher in 1980 and her PhD from Yale University in 1988 under Robert Herbert. Her work has been supported by Getty, Guggenheim, and Social Scientific discipline Enquiry Council fellowships, likewise as past grants from the Mellon, Howard and Kress Foundations. In 2019-2020 she was a Fellow at the Harvard-Radcliffe Institute. She has published many essays, 5 print books, and 2 book-calibration digital projects, is a prize-winning instructor, and has lectured widely, including in the Alive Arts plan of the Met Museum. One of her courses, Clothing , is amongst the virtually popular at Barnard and Columbia. She is now writing a volume under contract with Norton: Three Manner Stars and the Revolution They Wore; Joséphine Bonaparte, Juliette Récamier, Térésia Tallien.
Meme Omogbai, CAA Executive Managing director and CEO: Before joining CAA, Omogbai served every bit a member and past board chair of the New Bailiwick of jersey Celebrated Trust, i of iv landmark entities dedicated to preservation of the state'south celebrated and cultural heritage, and Montclair State Academy'southward Advisory Board. Named ane of 25 Influential Black Women in Concern by The Network Journal, Meme has over twenty-five years of experience in corporate, authorities, college education, and museum sectors. As the first American of African descent to chair the American Brotherhood of Museums (AAM), Omogbai led an initiative to rebrand the AAM equally a global, inclusive brotherhood. While COO and trustee, she spearheaded a major transformation in operating functioning at the Newark Museum. During her time every bit deputy assistant chancellor of New Jersey's Section of College Education, Omogbai received legislative acknowledgment and was recognized with the New Jersey Meritorious Service laurels for her work on college affordability initiatives for families. Omogbai received her MBA from Rutgers Academy and holds a CPA. She did postgraduate work at Harvard Academy's executive management program and has earned the designation of Chartered Global Direction Accountant. She studied global museum executive leadership at the J. Paul Getty Trust Museum Leadership Institute, where she also served on the kinesthesia.
Kirsten Pai Buick
We're delighted to denote the Distinguished Scholar session at the 110th CAA Annual Briefing will honor Kirsten Pai Buick . This session will highlight her career and provide an opportunity for dialogue between and amongst colleagues. It volition exist held virtually during the 110 thursday Annual Conference on February 1 seven , 2022.
Established in 2001, the Distinguished Scholar Session illuminates and celebrates the contributions of senior fine art historians. The Almanac Conference Committee identifies the distinguished scholar each year and each session typically brings together the distinguished scholar and a group of colleagues. The honoree'due south involvement is fundamental to the series as a way of demonstrating a living tradition that gives voice to the continuities and ruptures that have shaped art-historical scholarship from the twentieth century into the new millennium.
Admission to this program requires registration and is included with an All Access registration. Recordings will be accessible to registrants after the event. Register hither .
" I identify equally a scholar of the visual and material culture of the starting time British Empire, and the British diaspora in the U.s., Caribbean, and Bharat. My teaching encompasses topics such every bit surveys of British Colonial and U.Southward. Art, American Landscape representation, African American Fine art, Pro- and Anti-Abolitionist Images in the Atlantic World; and seminars such every bit Photographing Jim Crow, 1890-1965, Patronizing Women: Taste and Collecting in the 19th and 20th Centuries, and The Victorian Nude: Representing Women, Men, Intersex, and Children. My enquiry and pedagogy interests embrace histories of science, medicine, religion, every bit well every bit monuments, and the apply of public infinite. Increasingly, I am interested in the racialization of mobility—what I characterize as critical mobility studies. I publish primarily in the realm of the history of African American art and its roots in United states of america cultural formations. My first book, "Child of the Fire: Mary Edmonia Lewis and the Problem of Art History'south Black and Indian Subject," is a adept case of how I wed my education and publication imperatives together with my challenge to art history and visual studies to be more and to do better. Ultimately, educational activity is my passion; and I tell my students that job # 1 is surviving the damage, and job # two is to never concede the middle. "
Kirsten Pai Buick is a professor of art history at the University of New Mexico. She received her Ph.D. in art history from the University of Michigan and was a SAAM Predoctoral Fellow and a Charles Gaius Bolin Beau at Williams College. Buick is a recipient of the David C. Driskell Prize for African American Art and has published extensively on African American art, including her volume Child of the Fire: Mary Edmonia Lewis and the Problem of Art History'southward Black and Indian Subject field (Knuckles Univ. Printing, 2010). Her 2nd book, In Authenticity: "Kara Walker" and the Eidetics of Racism , is in progress.
For our members and the larger visual arts customs, CAA is disheartened by recent and continued actions on departmental closures in Art and Art History departments. The following links offer resource to employ as we continue to determine the actions going forward:
In 2020, CAA signed on to advancement with the ACLS: http://www.collegeart.org/news/2021/02/01/caa-signs-on-to-acls-statement-on-recent-kansas-board-of-regents-deportment/
Before Advancement posts and response:
https://www.collegeart.org/news/2018/09/17/caa-to-issue-best-practices-for-addressing-proposed-changes/
https://www.collegeart.org/news/2018/11/12/caa-guidelines-arts-and-humanities/
The 2018 survey of universities with departmental closures:
https://world wide web.collegeart.org/news/2018/xi/08/colleges-facing-cuts-to-arts-and-humanities/
Since 2018, several other institutions have closed and continue to close. Today our constituency has been affected by this ongoing situation over the past xiii years. CAA cannot terminate any institution of fine art, pattern or art-history from the decision, necessitated past financial situation or otherwise, to close. To best support our community, as a function of our ongoing repositioning and digital transformation, CAA has identified the importance and continued growth of an eastward-learning model and publications to recognize and support those currently and who continue to be affected.
CAA has a robust and active group of committees, Board of Directors, and other members who all continue to work together and move forward upcoming guidelines and all-time practices, to survey and respond to the ongoing needs of our constituencies. The advocates within our organization help strengthen the organization as a part of the community of large.
Mbanza Kongo (São Salvador), capital of the Kingdom of Kongo, mid-18th century
Encounter THE GRANTEES
Twice a year, CAA awards grants through the Millard Meiss Publication Fund to support volume-length scholarly manuscripts in the history of art, visual studies, and related subjects that accept been accepted by a publisher on their merits, just cannot exist published in the most desirable form without a subsidy.
Cheers to the generous bequest of the tardily Prof. Millard Meiss, CAA began application these publishing grants in 1975.
Spring 2021 Grantees
Annette de Stecher, Wendat Women'due south Art , McGill-Queen'due south Academy Printing
Cécile Fromont, Images on a Mission in Early Modern Kongo and Republic of angola, Pennsylvania State University Press
Sylvia Houghteling, The Art of Cloth in Mughal India , Princeton University Printing
Pamela Karimi, Culling Iran: Radical Spatial Strategies in Contemporary Fine art Exercise , Stanford University Press
Meredith Martin and Gillian Weiss, The Sun Male monarch at Sea: Maritime Art and Galley Slavery in Louis Xiv'south France , Getty Enquiry Plant
Ying-Chen Peng, Artful Subversion: Empress Dowager Cixi's Image Making in Art , Yale University Press
Yael Rice, Agents of Insight: Artists, Books, and Painting in Mughal S Asia , University of Washington Press
Sarah-Neel Smith, Metrics of Modernity: Art and Development in Postwar Turkey , University of California Press
Bert Winther-Tamaki, Tsuchi : An Environmental History of Gimmicky Japanese Fine art , University of Minnesota Printing
Did you know that you tin can make a souvenir to CAA using Amazon Smile? Amazon donates 0.5% of the cost of eligible smile.amazon.com purchases to the organization selected by customers — at no toll to you lot. Our clemency link will automatically direct you to Amazon, where you volition be asked to confirm that you would like your Amazon purchases to back up CAA.
As a 110-twelvemonth-one-time organization, nosotros are proud to serve a global community of artists, designers, students, and scholars through advocacy, intellectual engagement, and a commitment to the diversity of practices and practitioners. During this pivotal moment it is more than important than ever that nosotros support our visual arts customs. We hope that you will join united states in our mission and help u.s. bring our programs and publications to life past using Amazon Smile today.
CAA is extending our phone call for nominations for jury participation. CAA invites nominations and self-nominations for individuals to serve on our Awards for Stardom, Publication Grant, Fellowship, and Travel Grant juries. Terms now begin August 2021.
Candidates must possess expertise appropriate to the jury'south work and exist electric current CAA members. They should not hold a position on a CAA commission or editorial board beyond May 31, 2021. CAA'southward president and vice president for committees appoint jury members for service. Materials are due to CAA by July 14, 2021.
Amanda Williams speaks at Convocation at CAA's 108th Annual Conference in Chicago
Awards for Distinction Juries
CAA has vacancies in the following juries for the annual Awards for Distinction for 3 years (2020–2023). Terms begin in July 2021.
- Art Journal Award, 1 vacancy
- Charles Rufus Morey Volume Award for non-catalogue books in the history of art, ii vacancies
- Jury for the Artist Award for Distinguished Trunk of Work, Distinguished Artist Award for Lifetime Achievement, and Distinguished Education of Art Award, two vacancies
- Jury for the Distinguished Education of Art History Award and the Distinguished Lifetime Accomplishment Award for Writing on Fine art, one vacancy
- Distinguished Feminist Awards for Scholars and Artists, two vacancies
- CAA/American Institute for Conservation Award for Distinction in Scholarship and Conservation, one vacancy
Publication Grant Juries
CAA has vacancies on our Wyeth Foundation Publication Grant jury for three years (2021–2024) and the Terra Foundation for American Art Publication Grant jury for one year (2021 –2022).
- Wyeth Foundation Publication Grant in American Art, two vacancies
- Terra Foundation for American Art Publication Grant, three vacancies
Professional Evolution Fellowship Juries
CAA has vacancies on our Professional person Development Fellowship juries for three years (2021–2024). Terms brainstorm July 2021.
- Professional Development Fellowship in Visual Arts, two vacancies
- Professional Evolution Fellowship in Art History, ii vacancies
Travel/Support Grant Juries
CAA has vacancies on our jury for three years (2021–2024). Terms begin July 2021.
- CAA Support Grant in Memory of Archibald Cason Edwards, Senior, and Sarah Stanley Gordon Edwards, ane vacancy
How to Apply
Nominations and cocky-nominations should include a brief statement (no more than 150 words) outlining the private's qualifications and experience and a CV (an abbreviated CV no more than two pages may be submitted). Please transport all materials by electronic mail to Cali Buckley: cbuckley@collegeart.org. Nominations must exist sent as a Microsoft Discussion or Adobe PDF zipper.
For questions virtually jury service and responsibilities, contact Tiffany Dugan, CAA Manager of Constituency Engagement: tdugan@collegeart.org.
Borderline: July xiv, 2021
The May Picks from the Committee on Women in the Arts highlight a selection of events, exhibitions and calls for work that include feminist and womxn artists, and accost bug most social justice, climate change and the ongoing global pandemic. Several of the exhibits expand and rework traditional narratives of American history, providing a more than inclusive business relationship of our country's past and its current state.
Sonya Clark: Heavenly Jump
April x – September 12, 2021
deCordova Sculpture Park and Museum
Sonya Clark'southward Heavenly Bound, currently on view at the deCordova Museum and Sculpture Park, explores the Hole-and-corner Railroad and its connection to those seeking liberty throughout history and today. The slice includes a series of large-calibration photographs of abolitionists, a night sky made upwardly of the artist'south hair, a parachute installation and a book of cyanotype constellations, which all reference the treacherous journeying that cocky-emancipated Black Americans experienced during their escape.
Personal and Political: Women Photographers, 1965–1985
May 1 – November 28, 2021
Museum of Fine Arts, Boston
Adriana Lestido, Female parent and Daughter from Mothers of Plaza de Mayo, 1982. Courtesy Museum of Fine Arts, Boston
Personal and Political: Women Photographers, 1965–1985 includes the work of many well-known American photographers including Diane Arbus and Nan Goldin alongside recently caused works by bottom-known artists working internationally such every bit Adriana Lestido and Paz Errázuriz. The exhibit focuses on a specific time in photographic history when women were condign professional photographers at a college charge per unit than ever earlier.
Sharon Harper: Returning Light
April nine – June 25, 2021
Rivalry Projects
Installation view
Sharon Harper'southward Returning Light , currently on view at Rivalry Projects, includes several series of photographs that investigate the cycles of low-cal, providing a more macro view of time and space. Through the banner of low-cal Harper's work instills a sense of awe and points toward the changing climate and landscape of our world.
Ground/work
Aug one, 2020 – Oct one, 2021
Clark Art Institute
Ground/piece of work includes the installation piece of work of Kelly Akashi, Nairy Baghramian, Jennie C. Jones, Eva LeWitt, Analia Saban, and Haegue Yang. Each of the site-specific pieces considers the relationship betwixt sculpture and nature as well as notions of time, scale and transformation.
Judy Chicago Art Teaching award
Deadline: June 1, 2021
The Judy Chicago Art Didactics Honor is open to scholars, artists, and educators whose projects engage with the Judy Chicago Inquiry Portal. The laurels includes a $2,500 prize along with a certificate to be presented in July 2021 in Belen, New Mexico.
Allison Katz: Artery
May 22 – October 31, 2021
Nottingham Contemporary
Allison Katz's exhibition, Artery includes paintings, ceramics and posters created in the past 18-months during a time of ongoing national lockdowns. The championship of the exhibit speaks to the creative person'southward interest in networks and systems of connection equally well as the spaces in between what is shared and private. Katz's work will be on display at Nottingham Contemporary through October 2021 and will then exist revisualized for the Camden Art Heart in January 2022.
On Hannah Arendt: What is Say-so?
April 26 – June six, 2021
Richard Saltoun
What is Authority? exhibits piece of work from Lili Dujourie, Everlyn Nicodemus, Lerato Shadi and audio artist Laima Leyton. The showroom is role of a year-long series of shows inspired past Hannah Arendt's writings well-nigh power structures.
Girl Y'all Want
ArtYard
May 1 – Baronial 1, 2021
Genevieve Gaignard, Blackness is Cute, 2016. Installation view in ArtYard's gallery, 2021. Courtesy of the artist and Vielmetter, Los Angeles, photo by Paul Warchol
Girl You Want, curated past J. Vanessa Lyon, includes the piece of work of Genevieve Gaignard, Julia Greenburger, Jen Liu, Josh Rabineau, Wendy and Beatrice Red Star, Karinne Smith, Ivy Stewart, and María Vargas Aguilar. The exhibit is a wide exploration of what it ways to be a girl and traverses the space between girlhood and adulthood.
Promise, Witness, Remembrance
April 7 – June 6, 2021
Speed Fine art Museum
Installation view, Promise, Witness, Remembrance , Speed Art Museum, Louisville, Kentucky. Photo by Xavier Burrell
Promise, Witness, Remembrance was created under the direction of Breonna Taylor'south family along with a committee of artists, mental health professionals and community members. The exhibit pays tribute to Taylor's life, reflecting on her killing in 2020 and the subsequent protests that took place both locally in Louisville and globally. The artists in this exhibit explore the disconnect between what the American dream has promised and the reality for many of its citizens.
Turkey State Cove Foundation
Artist Residency
Borderline: October 1, 2021
Turkey Land Cove Foundation (TLC) offers a residency opportunity in Martha's Vineyard for women who are in whatever stage of a project from evolution to completion. TLC specifically supports applicants who could not otherwise personally finance a residency. Room and board along with travel expenses are provided.
Mom Egg Review
Call for Submissions
Deadline: July 15, 2021
For the 20 thursday annual consequence, Mom Egg Review is requesting submissions that answer to the idea of "Female parent Figures." Artwork and Literary pieces including verse, nonfiction, short fiction, and hybrid works should be submitted by July 15, 2021 for consideration. You do not need to be a female parent to participate.
Source: https://www.collegeart.org/news/category/uncategorized/
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