CFP: 7 SESSIONS AT CAA (CHICAGO, 12-15 FEB 20) - ArtHist.net
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CFP: 7 SESSIONS AT CAA (CHICAGO, 12-15 FEB 20)
College Art Association CAA2020 annual conference, Chicago, February 12 - 15, 2020
Eingabeschluss: 23.07.2019
[1] Hidden Realities: Abstract ARt from Latin American Women Artists
[2] Beyond the Tropics: Art and Visual Culture to and from the Caribbean
[3] Registering the Matrix: Printing Matrices as Sites of Artistic Mediation
[4] From Canvas to Stage: The Visual Artist and Opera Scenography
[5] Curatorial Impacts – the Futures of Okwui Enwezor (1963-2019)
[6] Modern Continent Personifications: Controversial Monuments
[7] Working with Decolonial Theory in the Early Modern Period
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[1] Hidden Realities: Abstract ARt from Latin American Women Artists
From: Mariola V. Alvarez
Date: June 26, 2019
Chairs: Mariola V. Alvarez,Temple University - mariolavalvarez@gmail.com and Ana M. Franco,Universidad de los
Andes, Bogota Colombia - anfranco@uniandes.edu.co
Women artists from Latin America have recently received a great deal of attention as a result of exhibitions across
the hemisphere. A notable example is Radical Women: Latin American Art, 1960-1985 originally held at the Hammer
Museum in Los Angeles (2017). The exhibition and its catalogue encompass a wide range of contemporary artistic
practices among Latin American women artists, focusing on the ‘politics of the body’ and conceptualist approaches
to art. Female abstract artists, however, did not occupy a significant place within this narrative. This panel aims to
broaden our understanding of the contribution and role of women artists from Latin America to the development
of abstract art in the twentieth century. Though current scholarship has emphasized the years after the Second
World War, this panel examines the production of art across the twentieth-century and into the contemporary
moment. Despite the inclusion of a few women abstract artists in recent Latin American art history we seek to
study the full breadth of the experience of self-identified women within a largely masculine art world and the ways
they carved out their creative practices. Moreover, we are looking for papers that address the way gender and sexu-
ality, along with multiple intersecting identities, intervened in the production of abstract art by women artists, as
well as with its critical reception and analysis. Abstraction offers a formalist freedom from social conventions there-
fore hiding possibly radical ways to be a woman artist.
Your proposed abstract must be submitted to the Chairs by the deadline of July 23, 2019. Selected panelists will be
notified by August 22, 2019. Information about submissions can be found here: https://caa.confex.com/-
caa/2020/webprogrampreliminary/meeting.html
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[2] Beyond the Tropics: Art and Visual Culture to and from the Caribbean
From: Maite Barragan
Date: June 27, 2019
Since the fifteenth century, the Caribbean has been a site of confluence, exchange and circulation. As debates
regarding the independence of Spanish, French, British, and Dutch territories spread throughout the nineteenth
century, it became increasingly important for locals to consider the ways in which the autochthonous and new
national cultures contested, assimilated, or related to that of the metropole. Fine art and exhibitions, along with
mass media including magazines, photographs, cinema, and other printed images were central to the formation of
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divergent definitions of the nascent independent and regional identities.
This panel seeks papers that examine the visual culture of the Caribbean as a nexus point within transnational net-
works of communication during the nineteenth and twentieth centuries. We are especially interested in papers
that address the role of images in the intersections between the global and local, or ‘glocal,’ and that explore the
new ways of looking generated at the juncture of metropole and Caribbean. We welcome presentations that
respond to an array of questions, including: How did images represent the local and transnational Caribbean identi-
ties or contest ideas of national boundaries, of both colonial and of recently created nations? How did the visual cul-
ture challenge or renegotiate the dichotomies of colonized/colonizer, resistance/assimilation, periphery/center?
How were notions of the local, national, and cosmopolitan renegotiated in light of the mass-produced image? What
meanings did reproduced images from capitals or from the peripheries acquire in local contexts, unofficial net-
works, or private spaces?
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[3] Registering the Matrix: Printing Matrices as Sites of Artistic Mediation
From: Cabelle Ahn
Date: June 27, 2019
Association of Print Scholars sponsored session at College Art Association Annual Conference 2020
Session Chair: Jun Nakamura, University of Michigan (junn@umich.edu)
Printing matrices often have storied pasts. Rembrandt’s plates were reprinted, reworked, otherwise altered, and
sent under the roller until little of the artist’s hand remained. One eighteenth-century printer etched over a Rem-
brandt plate in the name of restoration before cutting it down into smaller plates; another printed Rembrandt’s
plates with masks, plate tone, and in combination with other plates in order to create new compositions; and Rem-
brandt himself repurposed a plate by Hercules Segers. Beyond Rembrandt, Gauguin’s woodblocks were printed in
editions by himself, by printer Louis Roy, and posthumously by Pola Gauguin. The resulting editions vary widely in
inking, coloring, and support. Contemporary artists’ prints produced by publishers like Gemini G.E.L or Crown
Point Press are often as much a product of collaboration with the printers as of the artist’s singular hand. While the
Blocks, Plates, and Stones conference held at the Courtauld in 2017 did much to shed light on the matrix itself,
examining the contributions of printers and publishers adds complexity to notions of authorship and illuminates
processes particular to the medium; and looking at the afterlife and reuse of matrices provides evidence of artistic
encounters, exchanges, and processes.
This session seeks papers that address the printing matrix as site of mediation, across time and geography. Papers
topics might include:
- Reuse, restoration, or defacement of printing matrices
- The contributions of printers in printing other artists’ matrices
- Creative processes manifest in the printing of matrices, rather than in their making
- Collaboration via the matrix
To submit a paper proposal, please email the following (with subject: “APS CAA 2020 submission”) to the session
chair before July 23, 2019:
- Completed proposal form (https://caa.confex.com/caa/2020/webprogrampreliminary/meeting.html).
- A shortened CV (close to 2 pages).
All session participants must be CAA members. Please note that a paper that has been published previously or pre-
sented at another scholarly conference may not be delivered at the CAA Annual Conference.
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[4] From Canvas to Stage: The Visual Artist and Opera Scenography
From: Hannah Chan-Hartley and Corrinne Chong
Date: June 28, 2019
Visual artist-opera collaborations such as Dalí’s Salome (Covent Garden, 1950), Chagall’s Magic Flute (Metropolitan
Opera, 1967), David Hockney’s Turandot (Lyric Opera of Chicago, 1992), and William Kentridge’s Wozzeck (Salzburg
Festival, 2017) attest to the enduring influence of Wagner’s ideal of the Gesamtkunstwerk and, more generally, to
the appeal that the musical stage has held—and continues to hold—for painters and sculptors since the start of the
early modernist generation. This interdisciplinary panel examines the artist’s role as opera scenographer—one
which involves the orchestration and manipulation of space, architectonic structures, costumes, props, lighting,
and images; in short, the visual elements of the performance environment. Inevitably, the artist’s aesthetic lan-
guage and subjective lens shape the scenographic realization of the operatic work. The outcome is an interpreta-
tion which can either complement or challenge the authorial intention, whether it be textual and/or musical. Fur-
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thermore, the artist’s scenographic vision can align with or disrupt spectators’ expectations of the production.
These underlying tensions can provoke polarizing critical responses.
Papers might consider: the impact of “artist interventions” on the operatic stage and the various ways in which
these have sought to stimulate and invigorate the existing repertory; an artist’s idiosyncratic reading of the origi-
nal dramaturgical intentions for a particular work; the appropriation of art historical imagery in the scenic tableau;
and the implications of the increased presence of visual artists in the field of opera scenography. This panel particu-
larly welcomes papers that incorporate perspectives across the spectrum of visual culture, musicology, and theatre
studies.
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[5] Curatorial Impacts – the Futures of Okwui Enwezor (1963-2019)
From: Jane Chin Davidson
Date: June 28, 2019
Please see the CAA website https://www.collegeart.org/programs/conference for further submission details and
requirements.
Please email proposals to: janechindavidson@alumni.reed.edu
Nigerian art historian, curator, poet, and educator Okwui Enwezor left a tremendous impact, beginning with his
2002 debut as the first ‘non-European art director of documenta’ whereby “Democracy Unrealized” was the ‘first
truly global, postcolonial documenta exhibition.’ Enwezor’s creation of political platforms and artistic manifestoes
not only changed the form and function of global exhibitions, but also opened up new ways to implement social
and political knowledge in association with curatorial initiatives and practices. Over the course of the 2015 Venice
Biennale, Enwezor staged a reading of Marx’s Capital every single day as a performative speech act, acknowledging
the matrix of global capitalism, nationalism, and money-status that global artfairs and expositions signify. In this
way, he instrumentalized Venice’s world platform at the 56th esposizione as he spotlighted the 2015 “humanitarian
catastrophe on the high seas, deserts, and borderlands, as immigrants, refugees, and desperate peoples seek
refuge.” Much needed, however, is an understanding of how his approaches actually intersect with discourses relat-
ed to theories of affect, queer, race, and feminism, in addition to economic class. Through his enlarged scope of
influences, this panel seeks papers that engage in Enwezor’s model for transforming the use of exhibitions includ-
ing the creation of platforms, feminist/race manifestoes and other types of political interventions. We welcome con-
tributions to understanding the innovative strategies, proclamations, speech-acts, performative stagings, and differ-
ent ways in which Enwezor inspired, instigated, and forged new visions in order to change the existing boundaries
in art, art history, and the artworld through the exhibition.
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[6] Modern Continent Personifications: Controversial Monuments
From: Louise Arizzoli
Date: June 29, 2019
European artists and writers visualized the known world through personifications holding attributes related to
each continent. Since the sixteenth century, continent personifications of Europe, Asia, Africa, and America
appeared in pageants, atlases and prints, and became a very popular iconographical motif throughout Europe in all
artistic media. These figures clearly show the way Europeans perceived the rest of the world - often characterized
as a stereotypical Other – and were generally designed to express Europe’s belief of its own superiority, as well as
its quest for a newer global identity. The organizers are publishing a co-edited book titled “Bodies and Map: Early
Modern Personifications of the Continents” elaborating on continent figures ancient to eighteenth century, and are
inviting authors for a sequel on the controversial topic of “Modern Personifications of the Continents.” For CAA
2020, we are welcoming papers dealing with modern continent personifications discussing - among others - exam-
ples such as the six sculptures (now in front of Musée d’Orsay) commissioned for the Exposition Universelle, 1878,
Paris; Daniel Chester French’s sculpture set (1903-7) for former Custom House (now National Museum of the Ameri-
can Indian-New York; or monuments of Columbus portrayed with indigenous figures.
Please send proposals to Louise Arizzoli (larizzol@olemiss.edu) and Maryanne Cline Horowitz (horowitz@oxy.edu).
Include in your proposal: name and affiliation, paper title (max. 15 words), abstract (max. 250 words), and a brief CV
(max. 300 words; in ordinary CV format) by July 23, 2019
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[7] Working with Decolonial Theory in the Early Modern Period
From: Natalia Vargas Marquez
Date: June 29, 2019
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Co-Chairs: Natalia Vargas Marquez & Leslie E. Todd
varga066@umn.edu
leslie.e.todd@gmail.com
Decolonial theory developed in the early 1990s as a renewed theoretical framework associated to critical theory
that focuses on the concept of coloniality, a term that encompasses the expansion of colonial domination and its
effects today. Scholars who have primarily written on and contributed to the development of the theory were and
continue to be social scientists such as Aníbal Quijano and thinkers such as Walter Mignolo, as well as anthropolo-
gists and scholars of literature, philosophy, religion, and languages. Recently, art historians have explicitly drawn
decolonial theory more directly into their work including Ananda Cohen-Aponte’s 2017 award-winning chapter
“Decolonizing the Global Renaissance: A View from the Andes” in which she outlines a decolonial model of early
modern art history, and Paul Niell’s preface to the 2018 exhibition catalogue “Decolonizing Refinement: Contempo-
rary Pursuits in the Art of Edouard Duval-Carrié” in which he outlines a curatorial approach to decolonialism.
This panel invites art historians of the early modern period to continue the conversation opened by Cohen-Aponte
and Niell on decolonial models in art history. We seek to explore on a global scale how decolonial theory shapes our
work, and in turn, what we can contribute to the theory. What is the applicability of this theoretical framework to
art history of the early modern period? What are its blind spots? How do ideas and terms such as hybridity, mestiza-
je, and syncretism fold into or contrast against decolonial theory? We encourage papers that focus on historiograph-
ical, curatorial, and/or art historical ideas and questions.
Discussant: Ananda Cohen-Aponte
Your proposed abstract must be submitted to the Chairs by the deadline of July 23, 2019. Selected panelists will be
notified by August 22, 2019. Please also include a CV and completed CAA proposal form, available for download
here: https://caa.confex.com/caa/2020/webprogrampreliminary/meeting.html
REFERENCE:
CFP: 7 Sessions at CAA (Chicago, 12-15 Feb 20). In: ArtHist.net, Jun 30, 2019 (accessed Mar 10, 2020),
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