The CAA-Getty International Program 2017

The Art Bulletin and Art Journal, publications of the College Art Association. 

As one of the largest association for professionals in the visual arts, CAA is an organization devoted to fostering an academic discussion about art and its purpose through advocacy, intellectual engagement, and a commitment to the diversity of practices and practitioners. 

Since 2012, through generous support from the Getty Foundation, the CAA-Getty International Program has provided funding to 15-20 art historians, museum curators, and artists who teach art history to attend CAA’s Annual Conferences. The 2018 CAA-Getty International Program will support fifteen art historians, museum curators, and artists who teach art history to attend the 106th Annual Conference, taking place in Los Angeles from February 21–24, 2018. The grant covers travel expenses, hotel accommodations for seven nights, per diems, conference registrations, and one-year CAA memberships.

Applications are due Monday, August 21, 2017. Learn more about the CAA-Getty International Fellow Program and application details here.

In recognition of the program, CAA has selected six recent essays, three from The Art Bulletin, and three from Art Journal, CAA’s leading quarterly publications on art history and contemporary art, respectively.

The published essays all include an international and cross-cultural focus, including a few by scholars who were direct participants in the CAA-Getty International Program.

Forthcoming Articles

Art Embedded into Protest: Staging the Ukrainian Maidan
Nazar Kozak
Kozak presents a close account of agitprop and street art connected with the Ukrainian uprising of 2013-14, which ultimately dethroned the corrupt president of the country and his administration. He includes plenty of first-hand accounts by artist-activists of the street fighting and the works of art—sometimes literally incorporated into the barricades—created in support of the occupation of the strategically critical central square in Kyiv (= Kiev). Some of the works remain onsite as memorials to the hundreds of protestors killed during the pitched battle.

Fauve Masks: Reconsidering ‘Primitivist' Appropriations of African and Oceanic Art, 1905-1908
Joshua I. Cohen
Fauve painters “discovered” African and Oceanic sculpture beginning in 1905. From that time, Vlaminck first collected African art; Derain studied Oceanic works at the British Museum in spring 1906; and Matisse struggled to paint a Kongo-Vili statuette he purchased in fall 1906. Fauve interests in shallow-relief, relatively naturalistic, and surface-ornamented sculptural works suggest conformity with turn-of-the-century artistic and scientific ideas conflating heterogeneous strains of so-called primitive material culture. Nevertheless, the dominant conceptual framework of “primitivism” has tended to limit art-historical understandings of external formal influences on modernism, which can be gleaned here by investigating the particular objects the Fauves appropriated.

Inclusivity or Sovereignty? Native American Arts in the Gallery and Museum since 1992
Kathleen Ash-Milby and Ruth B. Phillips
It has been twenty-five years since the 1992 quincentennial of Columbus’s “discovery” of America, an occasion that prompted explorations of the artworks created by Native people in Canada and the United States (including a special issue of Art Journal). This essay, by two prominent curators of Native art, one from each country, examines the art created since then, the scholarship about it, and the ways it has been exhibited in museums and galleries in the two countries and around the world. Indigenous artists, curators, and critics today participate in the global spaces of contemporary art, including the Venice Biennale, Documenta, and other large international exhibitions. They have also found common ground for collaboration with artists from Australia, Aotearoa/New Zealand, and other settler states, and together have formulated a practice of indigenous visual sovereignty around the globe.